Seeing is Believing

Dressed in familiar traditional garb, a Tibetan Buddhist monk hunched over a square table in the middle of the glass-enclosed atrium of the Jepson Center for the Arts in Savannah, rubbing a metal rod he held in his right hand against the serrated surface of a long, thin metal funnel (called a chak-pur) in his left. As tourists of the historic district’s antebellum mansions entered the conspicuously contemporary structure to escape the sudden summer storm, joining those who intended to attend this event, the monk remained solely focused on task before him, despite the squeaking sneakers, increasingly audible chitchat, and camera flashes. The colored grains of sand flowed like liquid through the chak-pur (a result of the vibrations caused by the metal rod) on to the wooden platform, guided by the monk’s steady hand and concentrating mind.

After nearly 30 hours over several days, the group of lamas from the Drepung Loseling Monastery eventually completed the mandala, a remarkably intricate circular design composed of millions of grains of various colored sand. Once finished, it was destroyed. Read more…

Tiffany Ownbey’s sculptures feel alive. While whimsical and surreal in appearance, each piece is imbued with genuine emotion, ranging from bliss to anger, hopelessness to happiness. Many of her creatures seem to simultaneously exude contradictory characteristics—playful and menacing, desperate and satisfied, silly and serious, contemplative and spontaneous, disconcerting and lovely—that make them all the more lifelike. Gather enough of them together, and the collection suggests what a casting call for a phantasmagorical movie created by a mystical Burton-Gaiman-Dali collaboration might look like: teacup army, zippered horses, a timely woman, clown, keeper and eater, baby maker and American daughter, horse dog with rider, righteous bunnyman, mobile home, and a gang of others ready to play their roles in some sublimely bizarre narrative.

The North Carolina-based artist studied ceramics and printmaking at the Savannah College of Art and Design, Western Carolina University and Penland School of Crafts because papier-mâché—her first love—was not offered. Thankfully for us, her passion for papier-mâché, which began as a young child making piggy banks for gifts, never subsided, intensifying instead. Ownbey employs traditional papier-mâché techniques but uses vintage sewing patterns (rather than newspapers), books and found objects; she layers colored papers using a collage approach to add vibrant hues to her figures. Despite the ubiquity of recycled art these days, Ownbey manages to avoid stale and clichéd uses of found objects, implementing and upcycling a variety of otherwise discarded items—from old toys and various doll parts to vintage suitcases, clocks, phones, and all kinds of other flea market finds—in fresh and subtle ways.

Ownbey, who has exhibited her work at art festivals and galleries throughout the United States and as far as Japan, has transformed common craft into high art without sacrificing its approachability or humor. While each of her creations could be considered a signature piece, two seem especially suited to represent her distinct style and the broad scope of emotions and experiences that inform and inspire her work. First, “Due to Fall” (at left)—inspired by a poem by the inimitable Dorothy Parker titled “Symptom Recital” and created during a particularly hopeful period in the artist’s love life—is part of a series of pieces that incorporates vintage cases (from violin cases to suitcases) as framing devices. “Serial Lover” (see below), which Ownbey completed in May after two months of allowing the idea to evolve and working to get certain elements just right, epitomizes quintessential Ownbey: dark, mysterious, wry and powerful. Like great poetry, her work expresses poignant messages and intense statements while maintaining a healthy dose of ambiguity, allowing us to form our own interpretations and create our own connections.

A Conversation With John Trigonis, Sharing His View
of the World on the Page and the Screen

As a poet, John Trigonis sprinkles words on the page that produce a sensory response from anyone lucky enough to read them—in a chapbook, on a Web site, in a literary magazine. Though still mysterious and provocative, his poems are filmic scenes from some bigger, larger life. Confessional and observational, his narrators share what they see and how they see it. Like all poetry worth reading, an honesty is palpable, and without knowing it we’re swept up in some kind of quest to discover, or uncover, some kind of truth. His work has been widely published in the U.S. and U.K., and Trigonis has also published six chapbooks of his poetry.

As a filmmaker, John Trigonis creates poetry in motion. Even when quirky and off-beat, his short films seem to naturally explore some facet of the human condition, searching with stories and characters for some kind of light. Trigonis, 32, wrote his first screenplay—a feature-length film—back in 2001, which led to writing and directing five more films (as well as directing another two). His credits also include work as actor, cinematographer, and producer, along with directing and acting for the stage.

And we, readers and viewers, benefit from the fact that the poet and filmmaker are one, both of those divergent creative crafts influencing each other in subtle ways. So whether with a collection of poems or a short film, Trigonis will make you think and feel.

Trigonis, a “freelance” professor at universities throughout New Jersey, epitomizes the indie spirit of 21st century and exemplifies the DIY movement, embracing the possibilities afforded artists during this era of social media and affordable technology. He’s even pursued a fairly revolutionary method of funding his latest project. In addition to using his own money, Trigonis turned to IndieGoGo, pitching fans and complete strangers on the incentives of funding the film (perhaps a producer credit will entice you, along with several other perks). He has already reached his goal, raising $5,595 in relatively short order.

Today, thanks to all those who contributed (from small amounts to larger donations), Trigonis—along with cast and crew—starts production of his latest vision, Cerise, a short film about a former spelling bee champion who is haunted, 20 years later, by the word that took him down. Production will continue through the week, and you can follow the filming process this week by visiting Cerise on Facebook and Vimeo for constant status updates, pics and vlogs.

Trigonis recently took time from a busy schedule of rewriting scripts, holding auditions, scouting locations, and making other preparations to discuss a wide range of topics—from his artistic roots and creative process to his DIY nature and the future of “crowdfunding”—with The Madness Of Art. Read more…

A Conversation With Kristen Sullivan, aka Holly The Terrible, Expressing Emotions Through Vivid Personalities

Rooted in the comics, cartoons and video games she grew up with in Florida, Kristen Sullivan’s paintings tell stories, even when many consist of only a solitary, often female, character.

Her caricatures possess a magnetic pull, each seemingly infused with a backstory that one can’t help but try to piece together. Using a rich and diverse palette of acrylics on canvas (for the most part), Holly The Terrible—Sullivan’s nom de artiste—magically renders a cast of colorful characters who speak through oversized, evocative eyes, subtle facial expressions and occasionally quirky doings. Her creations, though very often whimsical and playful, possess a strong emotive quality, depicting worlds that are simultaneously fun and somber, colorful and troubled.

Inspired by artists ranging from Frida Kahlo to Tara McPherson, this 26-year-old, now Portland-based artist has developed her own style over time, hinting at influences and combining genres, through a mix of formal training and trial-and-error experimentation. Driven by a vigorous creative spirit, Holly draws from the well of her own emotions to form the personalities of her characters and the worlds in which they live. And despite disparaging professors and other possible deterrents along the way, she has remained resolute in pursuing a career as an artist—a decision she made in high school.

Holly maintains a strong online presence, including an Etsy shop, and she has exhibited her work in galleries and at shows in Tampa and Portland. Her catalog, for a painter with less than decade of experience, is quite vast and impressive. She recently took time to discuss her artistic beginnings, her process, the origins and evolution of her style, her sources of inspiration and much more with The Madness of Art. Read more…

I first discovered René Hugo Arceo‘s El Poeta while browsing Etsy and finding The Serie Project’s shop. I marked it as a favorite, knowing I would soon return to make the purchase when financial circumstances permitted. Soon, however, turned into many months—not necessarily due to a lack of funds but simply because I forgot about it. Eventually I rediscovered El Poeta (scrolling through my “Favorites” one day) and finally bought the limited-edition print, which is now framed and hanging in my library.

Originally from Michoacán, Mexico, René Arceo’s body of work is remarkably diverse, spanning a broad spectrum of styles, subject matter, and media—from a whimsical figure with colorful acrylics on paper to an abstract watercolor on canvas. But this Chicago-based artist makes the most memorable impression through printmaking. In his brilliant linocut prints, Arceo blends hints of surrealism with various influences—from his Mexican roots to the students he teaches at Chicago public schools—to form his distinct brand of contemporary folk art.

With El Poeta, Arceo celebrates the importance of the poet and honors the power of the pen. As a writer, the subject of the work immediately resonated with me, and the bright, vibrant colors and fantastical scene only enhanced its appeal. As the Etsy description states,

El Poeta is a fantastic figure; he is a creator deep in thought and surrounded by his muses and characters he can bring to life with the power of his words. Like a plant, the poet is a vivid green and through him there is potential for growth, hope and new life….As an artist, Arceo feels a kinship with the poet, who also has the power to create worlds.

El Poeta is part of Serie XV, 2007-2008, celebrating The Serie Project‘s 15th anniversary. Based in Austin, Tex., The Serie Project is a Latino-oriented nonprofit program dedicated to producing and promoting fine art serigraphs. Each limited-edition print (50 in this case of El Poeta) is a unique creation, not simply the result of reproducing a painting in large quantities. Thanks to serigraph printmaking, more people can enjoy original artwork at more reasonable prices. As Arceo puts it, “multiplicity can contribute to reaching larger audiences while subsequently making the artwork affordable or more accessible.” Amen to that, I say, as I attempt to summon the muse, staring no longer at a blank wall but El Poeta—a regular reminder of the power of the written word, of art.

On my first exploration of the Telfair Art Fair this past November, I had no expectations to leave with any art in hand. Well, to be honest, I had no expectations at all. So I wandered through the tented maze that overtook Telfair Square that sunny Saturday in Savannah, ducking in and out of the numerous nooks occupied by artists from all areas of the country (though Savannah and other parts of the Southeast seemed most prominent).

Eventually, I found myself transfixed by the delightfully disturbing work of Victoria Sexton. Despite the early onset of sensory overload in the midst of a somewhat hectic affair, her Burtonesque clay sculptures called out for attention. Each of the dozen or so thought-provoking pieces on display required rumination. As a writer, both Deadline (pictured below) and Mental Block possessed a disarmingly poetic appeal. In the end, I chose the lesser of two evils: As much as I detest a deadline—that “black bird” teasingly hovering about your head no matter how many times you try to shoo it away—it’s much easier to ignore than a mental block is to overcome. Prominently displayed in my apartment, Deadline now alternates, depending on when I cross its path, as a practical reminder, an inspirational catalyst and an agent of angst.

Non-Profit, Quarterly Arts Journal Launches in Savannah

One of the great things about Savannah—this big small town (or, depending on your perspective, small big city) on the Georgia coast that I’ve called home for 20 months—is its robust, ever-expanding arts scene, generating a palpable creative energy suitable for invoking the muse.

Despite this burgeoning arts community, and even with a fairly respectable assortment of local print publications, Savannah lacked an “offline” magazine dedicated solely and specifically to this community, its creative creatures and their admirers. I, for one, thought it obvious that such an arts journal could not only survive but thrive here. Luckily, I wasn’t alone. Read more…

In an effort to showcase the work of more artists, The Madness of Art is pleased to announce the start of a new feature: Exhibit A.

Each post in this ongoing series will feature a single piece from a visual artist, along with a bit of information about the artist, including where to view and buy his or her work. Obviously, the criteria I will use to make selections are subjective: An artist whose work I have discovered—perhaps locally here in Savannah, throughout my travels or somewhere on the Web—and find appealing and compelling, in such a way that speaks to me, qualifies. I certainly welcome suggestions of artists you think warrant inclusion in Exhibit A (send a message, with “Exhibit A” in the subject line, that includes the artist’s name and Web site).

During these tough economic times, artists and galleries need more support than ever. The intention of this feature is to shine a light on some interesting (and, most likely, unheralded) artists who might benefit from the attention.

To access Exhibit A, click on the button located between “Connect” and “Listen Up!” in the far right sidebar.

The long-awaited Spike Jonze-directed Where the Wild Things Are arrived in theaters on Friday, and the film—based on the beloved 1963 book by author and illustrator Maurice Sendak—topped the domestic box office over the weekend, grossing an estimated $32.5 million from 3,735 theaters, according to Variety.

Just like the classic children’s book, which won Sendak the Caldecott Medal, the PG-rated movie’s appeal extends far beyond contemporaries of its main character: those over the age of 18 comprised 43 percent of the audience this weekend, while families accounted for a mere 27 percent. While I’ve yet to see Where the Wild Things Are, it will likely get me to a movie theater for the first time in about two years. (So there’s no misunderstanding, I love movies and watch a lot of them, but I simply prefer to do so from the comfort of my couch with conveniences of home, i.e., wine.)

Obviously, Where the Wild Things Are is one of the hottest topics on the Web in recent weeks. More importantly, the book and the movie both seem to inspire creativity, awakening that sense of pure imagination that resides within all of us.

So, The Madness of Art offers this roundup of all things wild. Read more…

A Conversation With Marcelo Daldoce,
Celebrating Women, Wine and Words on Canvas

For Marcelo Daldoce, a mostly self-taught artist from São Paulo, Brazil, the maxim “bigger is better” definitely applies.

His preference for large-scale paintings (mostly on 98-inch-tall-by-49-inch-wide canvases) has resulted in a series of simultaneoulsy imposing and enchanting nude female portraits. Size, in this case, matters. But it’s not just size that will have you gawking. His unique style—influenced by such disparate artists as John Singer Sargent and Jackson Pollock, shaped also by his own experience as an illustrator—yields lively, seemingly three-dimensional celebrations of the female form, accentuating the sensual, hinting at the erotic. His paintings, many of which are inspired by his girlfriend (and muse) Ali, combine realistic-yet-idealized lines and figures with playful splatters of paint, fluid brushstrokes and vibrant-yet-soft fanciful colors.

Daldoce’s portraitures evoke the essence of vintage pin-up artwork and echo elements of pop art. The latter impression can be attributed to the artist’s recurrent employment of words, as characters in their own right, in much of his work—perhaps the most visible way in which his “day job” influences his paintings. And Daldoce’s mastery of typography is immediately evident and unfailingly effective, his integration of words and phrases—sometimes nonsensical, others meaningful—always create another layer of suggestiveness, along with adding a distinctive stamp, to his portraits.

And while Daldoce is certainly adept with either watercolors or acrylics on his brush, it is another more unconventional medium that sets him apart, and what first brought him to my attention. Daldoce paints with wine. Yes, wine! He’s completed a series featuring his iconic female portraits using a variety of varietals—a different type of wine, from Merlot and Cabernet Sauvignon to Chardonny (though he seems to prefer reds, and I couldn’t agree more), for each one. He also painted the portraits of four famous Brazilian sommeliers using wine to accompany an article in one of the country’s largest newspapers, Folha de São Paulo. Daldoce has also recently embarked on a new series of wine paintings. While the technique is unique, it is the amazing outcome that make his wine paintings noteworthy. Here’s the YouTube video that alerted me to this virtuoso (Bukowski would be proud, as long as a majority of the wine was consumed by the painter and not the painting, and Daldoce assured me that was indeed the case):

Marcelo Daldoce, who held a solo exhibition in a New York gallery in 2007 and one in Brazil the following year, is currently preparing for a show of his wine work in July. On the threshold of a major breakthrough, the 29-year-old artist recently took time to discuss the roots of his creativity, the inspiration for his ingenious work, his process and style, the struggles of balancing the demands of his job and his desire to paint, his ambition to improve, and much more with The Madness of Art. Read more…