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Issue II

Featuring: 

Lorimar Matos

Erin Hayden

Lynne McMenamin

Ibticem Larbi

Zelda Ray

Amika Takase

Yulia Kuznetsova

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"Que Valgo"

Lorimar Matos

"Sarita"

1. Your work is often centered on a fluid form- is this style something that you have always focused on when creating? 

So, the line/ and lines that appear in my art is a common theme and that represent paths that I or those around me are taking.  They express my feelings whether they are deep desires, frears, anxiety, hope or represent just how I see a person. I love exploring how many different ways I can express these feelings using lines and that is where you will find where all the little details that I put into them come into play. This something that I started to play with a couple months into painting, it just just feels natural like the embodiment of my train of thought. 

 

2. You had recently posted online about struggling with impostor syndrome, how did you end up confronting and moving past it? 

Imposter syndrome is something I battle with almost on a weekly basis whether it has to do with my art, my parenting, my existence as a person of color, and women.  These negative feelings can impact my productivity or my anxiety talking to people and I now live by the mantra that other people's opinions are not my business. It's great when someone likes what I do or who I am as a person but if they feel negatively about me and only offer criticism it doesn't matter because in the end it's my life and I have only one chance to live it. So, as long as I'm not endangering those around me then I have to live it with as much joy and integrity as I can and as long as I'm doing that people will see that light in me and join in the fun with me.  with that being said I do understand that that in itself is a privilege as many people cannot escape certain aspects of their existence and so knowing that it also pushes me to live to the fullest and really be appreciative of my ability to do what I love and to those people that are struggling just know its is ok to have a rough patch and its normal to doubt oneself but  never give up on yourself and enjoy the ride.

 

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

Some things I,ve learned over this past year is to invest in yourself, innvest your time in you, invest your energy in yourself. Before covid hit I was working as a retail sales manager my goal was to climb the ladder and invest my future in someone else's company, and when shit hit the fan they dropped me like the years of hard work did not even matter. So to everyone out there that has a dream of doing what they love I say pursue it put all your energy into that, if you need to work to pay the bills that's cool and i say always do well at work but remember these companies are pursuing their dreams and will use your manpower for their bottom dollar. So don't give the best of yourself to them. 

Also if you're trying to grow your Instagram just know that the best way is to make content that keeps people engaged (the longer you keep people on their app the better). Right now instagram has a lot invested in Reels and will push your content as long as it's a clear video and it's interesting, make sure you post to your stories almost every single day and make sure you respond to as many comments as possible after you post. People want to engage and get to know you and feel like they could almost be your friend IRL.

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https://linktr.ee/ByoodeArt

Instagram: byoodeart

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Erin Hayden
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At times your work is centered on a theme, such as your most recent Orca works, do you often hold strong to a focus?
This is a great question, the short answer is yes. I tend to need some sort of structure to work within and usually make a bunch of work with those ideas during a year or several months. I do usually though like to keep the framework a bit open. Another series I made in 2019 I thought about health, wellness and self care and worked with images of butter sculptures and crystals. A lot of my work in the past has a loose idea like that and then I like to get wild within it. Painting Orcas have been the most focused of a series I have made and have honestly felt the most personally and vulnerable.

You have also done some very unique performance art, how did this start for you?
Haha, yes I like the word unique. I started by going to open mics and poetry slams. I learned very quickly the poetry slam was not my thing because there was so much pressure to be captivating and funny but sometimes I just want to create an awkward situation for viewers. I started going to this open mic every week at this coffee place that was close to my house and each week I decided to do a different thing on stage. One time I read the entire menu as a song, another time I ordered cake on stage and sang a song with my headphones on, it really became a space for me to play and experiment. It was also low pressure because most people there were just working on their homework which also made it funny for me. Unfortunately that coffee place closed so I don’t have a spot anymore but now I feel comfortable doing weird performances in any space.

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

Totally, I’m struggling to make work right now but actually this is a perfect question to explain why I started to make Orcas which is because I had a dream that an adult and baby orca popped up in the water next to me and told me to not be afraid and to swim deeper. I took that to heart and got a wet suit and started swimming in Lake Michigan, I became obsessed with orcas, seeing them everywhere and friends sending me stickers and bookmarks of orcas all reminding me to trust myself and follow my intuition. So thats my advice, to swim deeper, follow your intuition, and play like the orcas do. Playing around really is the key to creating a fun space to keep creating.

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erinkhayden.com

instagram: erinhayden

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""Hummingbird print 1"

"Hummingbird print 2"

Lynne McMenamin

How did you get into the multi layer linocut work?

While I love the impact of black and white prints, the introduction of colour was always in the back of my mind as the essence of my bird prints which comprise a large percentage of my work.  When I started out on my lino journey approximately 12 years ago, I added that colour by hand with watercolour. 

Printing ink gives a totally different effect, ranging from delicate muted hues working up to stronger values with each layer. A number of different colours can also be added at once using a multi-coloured roller (as can be seen with my hummingbird print 2).

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How do you go about selecting an image you want to create?

I have so many ideas in my head all the time!  Looking at my sketchbook filled with ideas or my own reference photographs taken out in the field will strengthen an idea and then working out just how this all fits together is the path I normally take.  

 

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

If you can, practice each day creating in whatever form – sketching, painting, carving, printing – this can help with confidence-building.  Also trying something different out of your comfort zone.

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instagram: attic_nest_studio

https://www.etsy.com/shop/AtticNestStudio?ref=ss_profile

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Ibticem Larbi

"« Il était une fois ... les révolutions arabes »"

published in « Araborama 2 » ed. Seuil in 2021

In the recent Colorama Unbound conversation with Johanna Maierski, you explained how a schooling environment strongly restricted you from "fully blooming" and mentioned that your internship really changed things for you; Would you encourage artist to seek alternative ways to practice, work or continue their art?

Definitely, and I think that because in my opinion and in the eyes of a lot of people too, school is actually just a training space to conform students to a capitalistic way of living, working and exchange with one another, even in artistic fields. It’s a place where for most you are not seen as an individual, you’re not listened and while you might be good in certain subjects, if they’re not valued or looked as “premium” or important then your work and effort doesn’t matter. So at some point you just try to conform too, just to get your diploma and in this sense you restrain yourself from doing what you really want to do and so you’re like a plant that school trim to grow a certain way. And well, this process is just too painfull sometimes so why bother going through many degrees into same structural schooling places where for most you’ll probably not learn much and you’ll only get your worked criticized by people who don’t even try to understand your projects and concepts. So yeah for sure I encourage people to look for other ways to practice their arts and learn about work, like internships, residencies, working as an artist assistant... and talking with people is the best way to learn and share experiments !


How did the collective your apart of "MECHTA" start and how are things going currently? 

So the collective start up during the first lockdown due to the pandemic in march 2020. We gathered up with some friends and artists that we love and decided to draw together to spend time and think about other things but also share about what was going on at that time. Back then there was just a lot of protest in France against the governments, police brutality, racism and the list can go on so I guess we created this collective because we were just needing a safe place where we can all share what was troubling us and express it the best way we can, by drawing.

Now it’s been a year since we all started to work together and things are going pretty well ! We managed to make an exhibition when it was still possible to do it and had our projects going on since then. We lately got a studio where we finally can gather for real to create together and we’re really thankful to everyone who’s supporting us and made all of this possible !


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

Believe in your strenght and surround yourself with people that you can trust and push you to the top, period. And if you’re still in school and you are struggling, listen to what people or teachers tell you but without giving it too much attention. You’re the one who knows you the best so do what is good for you and not what will please them. And if it’s too hard just quit and take a moment for you, learn to listen to your needs and what you want to do so you can come back without being disturbed or start your working life !

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https://ibticemlarbi.bigcartel.com/products

instagram: 1bt1cem

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Zelda Ray
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 The work your making is very bold with color and ultra fun; how did you end up landing in the style you create?

I feel like it's a culmination of a lot of things and how I got into it is hard to pinpoint. I have always been drawn to sparkles, patterns, and bold colors, Individually they're cool, but all at once is better.  I make stuff primarily for myself and keep my fingers crossed other people are into it too. At an early age I was heavily influenced by 80's & 90's children's programming; Strawberry Shortcake, Rainbow Bright, Lady Lovely Locks, Clarissa Explains It All, and early MTV. Take all that and reinforce it with Japanese street fashion like Lolita, fairy kei, & Decora style then put it all in a rock & roll blender, and voila!

 

In many of your recent commissions you also paint requested images onto the garments that you also sew; how did this process start for you?

So the puffy paint thing started when I was in a band called Sweet La La. My bandmate and I were using iron on lettering and puffy paint to spell out our band name and bedazzle our merch. That turned into making album cover shirts here and there for pals but it wasn't until I was in a bike accident that left me with a broken kneecap that puffy painting album covers and various images onto shirts really turned into the thing I do. I was working as a bike messenger and unable to work so making these shirts allowed me extra income while I was recovering. 

 

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

 Things I need to hear and maybe you do too. 1. Art takes time, When you're not actively making art you are gathering ideas. That down time is not wasted and you're not failing at being an artist. Trust the down time. 2. Unapologetically believe in yourself and what you're doing because you are a brilliant artist, no one can say otherwise. Trust yourself and your process. 3. The most important thing, fuck societal constructs of success none of its real so make your own rules to reality! 

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Instagram: always_be_a_buddy (shop account) & pancakemakeoutparty 

alwaysbeabuddy.com

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Amika Takase
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"Woman in Poland"

You work is centered on the figure of women, how did this focus start for you?
I thought that saving women who was hurt by prejudice and discrimination would help to increase their self-affirmation and understand the essence of things without being distracted by others.
By feeling the power of the uterus and blood, women can recognize the existence of strong energy hidden inside.
If women could make the most of their strengths, they would be able to play an active role.

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Many of your titles include "Karma"-how does this term tie into the work you've been creating?
Although it has many meanings in Buddhism, karma here refers to the chain of fate that arises from our ancestors.
Women who have been seriously injured by unfair discrimination and oppression unknowingly continue to chain the same suffering to their next generation of daughters.
Looking at this karma objectively, I thought that women could be saved by Destroy the chain.

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Any words of wisdom for those struggling to push forward with their work?
It is important to continue. It's difficult to make a work now, but I'm always thinking about what I can do, and keep moving my hand. such as making simple drawings and sending out on the Internet. It's OK even 5 minutes a day!

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instagram: amika.artwork

"Woman in Poland"

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Yulia Kuznetsova

"Radiant Bull"

"Flower Serpent Composition #14"

Your work incorporates a mix of different materials and style, how do you select what to use when creating a piece? 

I choose materials that compliment each other helping me convey exactly those qualities that I have in mind for each piece. For a successful combination of different media it is crucial to follow the order in which every kind of media is utilized. For instance, painting watercolor on top of pencil drawing will not hold the material and ruin the piece; however, if you draw with a pencil over the watercolor painting it will help bring up important parts overall enhancing the artwork.
 

Many of your works feel symbolic, is symbolism something you often tie in with each piece?

In many ways yes. I always start with a main idea with each new piece and then I add more narrative and symbolism as I progress along. It is important to keep the idea alive, fluid and changing to be able to derive certain wisdom and make it available for understanding to other people. I often am guided by my own pieces in their symbolic development while working on them.

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

Oh my... I am having this problem myself. Plus having to deal with unstable emotions and feelings is challenging and can get in a way of art making. What I do is every day from the time I get up I tell myself that work will straighten things out. No matter how much I’m struggling or dealing with other problems, telling myself to keep pushing and having my mind set on studio work helps me to move forward with procrastination working on my art. This is true that art making keeps me from falling apart. And I bet it is also true for many other artists when it comes to the meaning of their practice in their life: they have no choice but to keep making art.

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www.yuliakuznetsova.com

instagram: yuliakuznetsova0693

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♥Thank you to all the artist and readers of this issue♥

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