artist

Bill Stewart-Revealing a Perspective for Trees with Green Branch Decor

Interview With…

Bill Stewart

by Alyssa Laube

About: I’ve lived my life on small acreage in Abbotsford. B.C. I spent the first five years of my working life in reforestation, where a handful of friends and myself did tree planting and juvenile spacing. We would often take all our gear and supplies with us and make our own camp with plastic and tarps, and not come out for a week or so – a somewhat appealing thing to do, especially in a person’s youth – spending time in the mountains and helping in the regeneration of the forest. Juvenile spacing in reforestation is where an established plantation of either planted or naturally seeded trees are too crowded, so the density is thinned to a tree every eight or ten feet. Even though we had moved from our rudimentary camps to staying in logging camps and motels, the often inclement weather, and not uncommon assaults from mosquitos, no-see-ums, and black flies, and the isolation, all begins to wear on a person, so I decided to go farming and have been doing that since. I use to keep livestock, but quit doing that in 2004, when I started a new endeavour in trying to grow European truffles. I’ve had some successes – in 2013 I harvested the first verified Perigord truffles grown in Canada, buy I haven’t yet produced enough to say the venture has been a success. Shortly after I started the truffles was when I started thinking about growing trees for artwork. A recent change in my life came two years ago when I got diagnosed with cancer. Even though I had always been health conscious, after the diagnosis my wife Kathi and I went on a vegan diet – something we are both enjoying. It’s not an uncommon paradox that something that isn’t good can lead to something good.

For more information about Bill’s work, please visit http://www.greenbranchdecor.ca

Your work is centralized around trees. Why did you choose to use them as a medium and what gave you the idea to use them in art?

The reason I chose trees is largely because it gave me the opportunity to accomplish two things at once – give me something to grow, and provide a medium for creative purposes. It started first with the need and desire to grow something. Having grown up on a small acreage where our family always had big gardens, a person acquires a desire for growing and nurturing plants. I had a number of empty spots on my farm and was looking for a something to grow in them, so I started thinking about a few trees to fill in the spaces. About the same time, I was doing a couple of small jobs on the farm. The first was when I was picking up some cedar branches I had pruned from a tree, and the idea came to me that instead of burning them, perhaps I could find a use for them. On a whim more than anything else, I decided to try to peel them, and found them to peel quite easily, and that they were also very appealing, with their fine branching and the brightness that resulted from the bare wood. Shortly after that I was doing some weeding and I pulled a young maple tree out of the ground and noticed how substantial and interesting the roots were. That got me thinking about the roots of trees and how their size, shape and character are to a large extent unknown, even though they can be equal in mass to the part of the tree above the ground. So I wondered if roots of trees could also be peeled, intact with the top of the tree, to create art from the trees. The more I thought about it, the more ideas I came up with. So I came to the conclusion that I would grow trees in those empty spots on my farm , and use the trees as a medium for artwork.

What makes working with wood different from other materials?

This is my first real endeavour at creating objects of art, so I haven’t really used other materials in artwork. But having said that, there are some things about wood that can be adventitious. The first is the many ways that wood can be shaped. The list of the potential shaping tools for wood would be very long – from simple tools through sophisticated electric tools, fire, water, and even other organisms. And the many ways wood can be finished and transformed also offers a very wide range of possibilities – from nothing at all, through painting, staining and dyes, and yes, fire, water, and other organisms. Another potential benefit of wood can be the uniqueness and strong characteristics of an individual piece. And the relative innocuousness of wood, and often pleasing tactility aspect of wood is a bonus.

Do you remember the first time you found your interest with trees or nature?

I can’t remember the first instance I developed an interest with nature, but I’m sure it was at a very young age. I have many early recollections of spending a lot of time outdoors. Growing up with gardens, pastures, and bush, it would be hard not to observe, admire, and become interested in nature. As for trees specifically, as a kid I climbed many a tree – mostly just for the fun of it, or for picking some choice fruit, or even for harvesting cascara bark.

What do you hope to accomplish with your work?

I think that my work can reveal a perspective of trees that is not always appreciated. The removal of the bark is like an unveiling – highlighting and showcasing the intricacies of the tree’s wood, and with the peeled cedars, the intricacy of their fine branching. This highlighting accents the shape of the tree, revealing how the tree is always trying to reach outward and upward in it’s quest for growth. This in turn can be translated and compared to a person’s or a community’s strive for the same growth. And my work with roots opens up a host of other symbolisms, such as anchoring, bonding, and nourishment.

Please explain the following concepts and how you use them: ikebana, bonsai, Feng Shui and Japanese Zen.

I’m far from being an expert on either of those subjects, but like with many things, there are threads of commonality running through each of those concepts – and with my work. In the case of ikebana the similarities with my work are the use of different parts of a plant to draw attention to shapes and lines, the use of minimalism, and often a suggestion or evocation of a certain meaning, usually to draw humanity closer to nature. With bonsai and my work, the obvious connection is the use of trees. In bonsai the trees are kept small through judicious pruning of both the crown and the roots of the tree, and even though the end objective of my work is very different, I have to employ many of same techniques. The main artistic concept of bonsai that I try to emulate, is to reveal the essence of the tree. Feng Shui is a very complex art form that emphasizes the harmonization of people with their environment, and it is that principle that that I try to bring into my work. Japanese Zen is about balance, harmony, and relaxation, and is associated with minimalism, simplicity, and purity of lines. Although a tree in nature may strive for balance, harmony, and relaxation, the forces of nature does not always allow it to achieve that objective. And a tree certainly is not always about minimalism, simplicity, and purity of lines. When working with my trees I can choose to show the tree in either state – balanced, relaxed, simple – or the reverse – struggling and stressed out.

Why do you peel wood rather than sand it and how does peeling wood impact your works?

The peeling allows a lot of character and detail to remain on the wood, and if I get the timing of the peeling right, the resulting surface of the wood is very smooth with a natural sheen. The peeling also avoids some of the dust that comes with sanding, though the peeling can also be kind of messy. The fine branching of the cedars I peel could not be retained with sanding – it would be impossible to sand off the bark and still have any wood left.

Have you done any works with the bark on, sanded, etc.? Would you consider it?

I do have a few pieces with the bark on, but I find the pieces with the bark on to be very uninspiring, so I avoid them. If I have a piece of wood that is proving to be too difficult to remove the bark, it may end up in the scrap pile. Sometimes I will paint pieces that I purposely left the bark on. With regard to sanding, I do sand a little – to remove any bits of bark that may remain, or remove any other marks on the piece, and working with the roots requires quite a bit more cleanup and sanding to remove bits of bark and loose frayed wood.

What are the themes in your art?

The themes in my work is to show how a tree can be seen as a representation of energy, enthusiasm, perseverance, and be solidly grounded and anchored.

How do you use sculpturing?

In my work sculpturing consists of shaping the trees when they are growing and in preparation of a final piece. The most obvious and most expected place this is seen is how I shape the tree with pruning and then again the final shaping, but there can be some other sculpting going on – such as both unintentional and intentional injuries that have been inflicted on the tree – potentially adding significant character. Another area of my work where I have without doubt shaped the tree, is the roots – you just know that somebody had to persuade the roots to grow in that shape. That is the most unexpected and unique characteristic of my work. I am considering doing some more traditional sculpting of some of my pieces and I’m watching for a piece that might fit some of my ideas.

You’ve said that you use representations of the trees as human characteristics. How do you use personification in your work?

It is actually quite easy to use trees as the embodiment of the human form – a pair of outstretched limbs on a tree or outstretched arms on a person aren’t so dissimilar. And the human spirit can also been in a tree that is in a shape that exhibits it’s vibrant growth and outstretching, or conversely a tree that is struggling under harsh conditions can be compared to person in similar circumstances.

What do you mean when you use the term “movement” in a piece?

The term isn’t that much different from personification, but of course it’s not only humans that have movement. Some of my pieces that have a twist and/or turn in them elicit the sensation that it has been stopped mid-frame and could move at any time, and of course the tree did have to move to get into that position – ever so slowly as it was. And some pieces elicit the idea of a leaf or flower bud that could spring open at any time.

What is your favourite piece?

I don’t have a favourite piece, but I’m really liking the new work I’m doing with some of my trees that have matured into trunks and roots of a substantial size. I like them for the reason that their finished size can be minimized and they still have a lot of presence. One of them is the one I’m bringing for the silent auction. I’ve named it “Schoolmarm Bole”. The “Bole” part of the name comes from the use of the word ‘bole’, in forestry to refer to the trunk of a tree. The “Schoolmarm” part of the name comes from the word ‘schoolmarm’, which is a old term to describe a woman teacher that is regarded as prim, strict, and brisk in manner and the term is also used to refer to trees that have a trunk that forks into two sections that are usually very close together – like the legs of prudish old spinster schoolmarm. Kind of mean and kind of funny. Come to the show see that it is a very appropriate name for the piece.

Do they range in size?

Yes, I have pieces that are very small and some that are very large. And like I mentioned earlier, with some of my older trees reaching a larger size, I’m finding that the finished pieces not only look better when they are reduced to a smaller size, but they are also more functional for fitting into most settings.

Where do you get inspiration?

My inspiration mainly just comes from my surroundings and observing and contemplating how different elements and shapes are found in nature, and how I could bring them together in such a way that they are appealing and brings a person into a contemplative state. I’ve also had some inspiration from Rodney Graham’s images of inverted trees and I’ve been watching for some pieces that I could use for some ideas I have, and have my eye on a few pieces. I might even be able to have one or two finished for the show.

Where do you find your materials?

At first most of the tree material I used was found on my farm and I still get some of it that way, but now I grow most of my materials expressly for the purpose of using it in artwork. A lot of the rocks that I use I gathered several years ago from the Fraser River’s Herrling Island when the river was being dredged of some of the rocks to keep the channels flowing more freely. It was a great spot for a wide selection of rocks. It happens that Herrling Island – which is just downriver from Hope – is one of areas we planted – with cottonwood trees – so different in a number of ways than the usual planting that is done in reforestation. Now I get rocks from the local gravel pits, where the rocks originated from the same mountains that the river rock came from, except they were deposited by either the river when it had a different course or were deposited by the glaciers in the last ice age. I also have a wide selection of used equipment and parts from some of my former farming, that I sometimes can incorporate into my work.

How do you use the following woods? Please compare and contrast: Peeled Cedar. Peeled Maple, Peeled Hazelnut and Miscellaneous

Of those woods, the peeled cedar is the only coniferous, so it is dramatically different than the others – mainly because coniferous trees with scale like leaves have a very fine and multi-branching top. Although they are a lot work and it is kind of difficult to remove all the bark, the end result can be very vibrant. I have tried to use the roots of cedars in some of my work, but have not had a lot of success. The peeled hazelnut’s difference is mainly that it is usually older wood from cultured trees and have a lot of character from the many pruning and natural wounds it has endured. The maple is the wood that I enjoy and have the most success with. It has the a fairly hard wood, grows fairly rapidly, and most important, it”s roots are very good for my work. Some of the other species that I use are elderberry, birch, alder, cottonwood and several other species. The one thing they all have in common is that they are all what I call volunteers – meaning I never intentionally seed them. I have enough trees on my property that if I leave a pot out with some soil in it, or there is some bare soil, nature will soon plant a tree seed for me. Although I do grow some of these volunteers, most of them have some disadvantages, such as a root system that isn’t conducive to my work, or the wood is too soft to remain in good shape during the peeling.

How has living in B.C. affected your artwork?

Living in B.C., with it’s mainly rain forest climate, certainly has affected my work, mainly because there is such an abundance of trees. There is no shortage of tree forms to look at, especially in the winter when the deciduous trees have shed their leaves to reveal a closer view of their shape. B.C. also provides the opportunity to work with trees in employment – which for me was reforestation. So B.C. has certainly provided a lot of exposure to trees for me. And I assume that my working with the tree roots on rocks partly originated from being in the mountains and seeing trees with their roots partially exposed. Just the overall wildness and varied nature of B.C. can be inspiring.

How about living on a farm?

Living on a farm keeps me close to nature, especially because I allow part of the farm to remain wild. This is where a person can get inspiration for my kind of work. It was while I was living on the farm and I was looking for something to grow that I considered my artwork.

What is it like working as a couple?

Although we are not usually too far apart on the farm, we don’t often work right together.

Does growing your own crops make a difference?

In regards to the material that I grow for my artwork, I wouldn’t want somebody to grow it for me – I like the satisfaction of knowing that it is all my own creation. And even though the growing of the trees can be a lot of work, I like that it keeps me outside where I can observe and experience the changing seasons and weather.

Why do you prefer to stick to natural ways of growing your crops?

I prefer to avoid using the often harsh and poisonous fertilizers and chemicals that can be used in farming. They can provide some savings in time and get quicker results, but also can disrupt the natural balance and diversity.

Where can your work be found?

I’ve made part of my barn into a showroom where I have a small collection of about a hundred finished pieces. I also have some items at the White rock Museum & Archives in White Rock, The Avant Gardener in West Vancouver, and at Monika’s studio in North Vancouver. And I will soon have an online store on my website.

What can’t she do? Meet International Artist and Super-Woman Marie-Anne Vorlet!

Marie-Anne Vorlet was born in the French part of Switzerland and raised as well as schooled in the German part of same country. After high school, no longer able to numb the urge to travel and experience the world, she looked for ‘portable’ work. She spent her first years as a working girl as a nanny in England, Cameroon (West Africa) as well as in Switzerland. During those much enjoyed years she developed a yearning for more knowledge which surprised her as she remembered school as a place of boredom. After earning the ‘Matura’, the Swiss school diploma required to enter any of the countries universities, a short detour to medical school helped Vorlet figure out what she did not want in life. It also allowed her to finance her years studying math, physics and astronomy. Working night shifts at the major teaching hospital in Zurich, teaching math as well as Tao Yoga on the side made ends meet. After these quite long years the travel bug hit again. Lucky enough to find a very flexible employer in one of the two big Swiss banks as well as work as a freelance translator, Vorlet explored parts of Europe, America, Nepal, Hawaii and South Africa. Crafting, especially sewing and knitting has been a hobby since age five, a year working in the shop of a avant-garde dress-maker in the late eighties, gave her the possibility to have a close look behind the scene. Statement: “No matter what I am doing, I am at my very best when dealing with a situation that is completely new to me. And I do love to create some

Interview With Marie-Anne Vorlet

by Alyssa Laube

About: Marie-Anne Vorlet, born and raised in Switzerland, is a woman of many titles – from world traveler and volunteer to artist and entrepeneur! For more information on Marie, visit:

http://www.thetinybigbag.net/MAVBio.htm

Having grown up in the beautiful country of Switzerland, were you influenced by your roots? How so?

Yes. I think my roots have indeed influenced me, especially the French Suisse part of them, as well as our beautiful landscapes. The Swiss “Frenchies” take life easier and appreciate beauty and the arts a lot!  

You’ve spent a lot of time travelling in your life. How did this change you, both as a person and an artist?

Travelling is definitely my bliss in life. I love to see new landscapes and colors, taste new foods, and meet people with different ideas. Travelling and volunteering in Africa made me appreciate the many possibilities we have and tend to take for granted in the rich countries!

How does Vancouver compare to other cities that you have lived in?

I love and appreciate the proximity of big city-life and nature that Vancouver offers. It makes it a part of my “all-time favorite cities” list, which includes Zurich and Cape Town for the same reasons.

Have you always had an adoration for new experiences?

Yes – I actually had a longing for the “new and exotic” since Primary School, which, as a child, made me devour books with a passion.

As a person who has tried many different occupations, do you feel that they were necessary in order to find your true passion?

Definitely! Nothing compares to personal experience.

What do you consider to be that passion?

Art, making new ideas work, i.e. creating my own NGO: www.educationwithouborders.ch, which was inspired by my Canadian friends. After volunteering regularly at and supporting my friend Heather Reynold’s orphanage, ‘God’s Golden Acre’ in KwaZulu-Natal, South Africa, for years, I strongly believe that education is a door opener!

How many languages do you speak?

Four: Swiss German, German, French and English – I have plans for learning Zulu as soon as I have more free time.

How was it beneficial to be multilingual, professionally?

It has been very beneficial, especially in Zurich because this city is quite international in its focus.

What is your favorite place that you have been to or lived in?

Namibia – the desert colors are just divine! Paris: fashion, art, food – need I say more?

Many of your paintings focus largely on shape and color. Where did this fascination come from?

It still surprises me how a different color can “change” a shape, it just never gets boring.

You have quite the variety of hobbies! Which ones do you still practice today?

Traveling and spending as much time outdoors, preferably in nature that has not been altered by humans.

Are there any that you would like to explore?

Yes, learning to fly!

A recent project of yours is The Tiny Big Bag, described as “The ultimate fashionable tote handbag (which) folds into handkerchief size.” Where did you get the inspiration for this idea?

Moving to Vancouver many years ago (in 2000) from a country with very strict laws concerning the environment I was shocked to see that plastic bags were still free and used in enormous numbers in Canada. My cultural-shock-question was: “Would you like this double bagged?”

 For original ideas such as The Tiny Big Bag, do you prefer to manage them individually or cooperatively with others?

I would love to take a highly motivated partner on board – someone who has strengths I do not have myself!

Looking back on your journey, do you have any favorite/least favorite memories?

My favorite memories include the first time I saw the ocean (all the space!) after so many mountains at home. And, of course, the first trip I took out of Europe at the age of 17, which led me to Cameroon. Since then I am hooked! Africa is still my favorite continent!

Is there any point in your development as an artist that you regret or cherish most?

I have few regrets in life! I cherish the fact that I am mostly self-taught in regards to my artwork. Curiosity is what keeps me going in life.

What are you looking forward to the most at this year’s Art Expo?

The chance to meet people, see a lot of other peoples artwork and the possibility to show my work in a great location at Science World!

Carve or Starve!-An Interview with Jesse Toso

About: Jesse Toso, born and raised here in British Columbia, is a talented woodcarver whose tool of choice is equally impressive: a chainsaw! To see some of Jesse’s extraordinary work, go to:

http://www.stumpartist.com

The first time you carved was at a competition in 2005, at which you took first prize in the Amateur category! What motivated you to take part in the competition, and did you have a feeling that you would be a natural?

I grew up in Campbell River where the Transformations on the Shore Chainsaw Carving Competition has been taking place since 1997 and I remember looking at the amazing carvings produced at the event each year and I thought to myself: “I could do that”. So, I borrowed a chainsaw and hacked away at this giant piece of Douglas fir and by the end of the week, I had shaped out a Phoenix. After taking home the $1000 prize, I decided to do it every year after. This year will be my tenth!

Why do you prefer to work with a chainsaw, rather than other tools?

Chainsaws are fast.

In your opinion, how does the type of wood influence the final carving?

The type of wood I use influences the final carving immensely. The colour, the size/shape, the grain are all contributing factors. Sometimes I look at a piece of wood and determine what to carve based on it’s shape and type, and other times I will want to carve something and look for a piece of wood that will work, but ultimately it is the wood’s inherent qualities and characteristics which influences the final carving.

What did you do for a living before wood carving entered your life? Do you think you will continue to wood carve for the rest of your career?

I am a carpenter by trade as is my dad so working with wood comes to me naturally. I will continue to keep carving wood, but I am also interested in exploring the artistic relationship(s) between other building materials, namely: glass, metal and concrete. And I’ve always wanted to try carving ice.

What is the best part of working in wood carving?

Wood is a beautiful, natural, and quite versatile. And it’s sustainable.

How have you improved over the years?

I improve every time I carve. Going to annual carving events such as the competition in Campbell River and Carva-Palooza (an annual chainsaw carver’s convention in Ontario) has also been a huge boost. I hope to continue improving with every carve.

What do you consider your most difficult piece? How about your favorite one?

I would say the 16-foot spider hanging on the side of a building in downtown Campbell River was my most challenging and my favourite, too. It involved creative engineering, 3D visualization, chainsaw joinery, and it was done in five days (as a part of the carving competition). Also, it caused a bit of controversy. People wrote into the local newspaper asking it be taken down as they have arachnophobia and could no longer go to the theatre because of the giant wood spider overhead! Other people then responded in defence of the spider, and it so had people talking in Campbell River. Which is what art should do, right? I have since carved several spiders and I will be bringing a “smaller” 8-foot version to Art World Expo.

You’ve worked on a variety of different sculptures, mainly focusing on animals. Do you prefer to use nature for your inspiration and how come?

I am drawn to curvy, smooth, rounded, flowing shapes such as octopus legs, dragons, or the neck of a heron, and so find myself carving such shapes. It happens that most things with these characteristics are from nature.

How has working first-hand with nature changed your relationship with it?

Trees are precious. I am honored and humbled when I carve into wood that had once been a tree that had been standing for hundreds of years. I feel I need to use every bit of the wood I am carving. Many of my carvings are from off-cuts from other carvings.

Do you think that wood carving differs from other forms of art? How so?

All art is expression. Carving wood with chainsaws is just another way for me to say: “Look what I can do!”

Do you have any advice for beginners in the field?

Carve or starve!

Have you ever done a collaborative piece? If not, would you like to?

I have done several collaborative pieces. As a part of Carva-Palooza, one of the several carvings we do is made with a partner. Actually, this year I will be leading a group project (at Carva-Palooza) where eight of us will carve a complete chess set out of logs. I am really excited to see how this turns out.

A Man of Many Talents-Yves Decary

About:

Yves Decary is not your typical salon owner. Owner of L’atelier Hair Boutique & Gallery in the Yaletown district in Vancouver, BC, this man has many talents. L’Atelier is a full service studio and gallery where local artists are able to show and sell original art work in a welcoming, edgy and vibrant environment. Clients are able to come in, be pampered by a master stylist team, but also engage with Vancouver’s artistic merit, which is evidently bustling as seen from the variety of work found at the salon. Yves not only styles, but also enjoys painting which has led to multiple live painting performances, numerous sales and an upcoming show at Roam Gallery.

Yves Decary-Interview by Alyssa Laube

How is L’Atelier Hair different from other salons?

At l’Atelier, we consider hair to be an art we are creating with scissors, paint brushes, and color. A new look for client, it is why we are different.

How were you introduced to hair styling and cosmetics?
I have always been interested in and curious about fashion because fashion is an art statement. It’s why I decided to become a hairstylist when I was 18 years old.
Why do you think it’s important that you sell local art at L’Atelier?

Our mirrors are framed like a painting and so, our client is our blank canvas. It also makes us proud to support local artists and artisans in our gallery.

When/how did you transition from selling art to creating it?

I started to paint 8 years ago and learned to express my emotion and state of mind on canvas.

To you, what is the meaning of art?

I think, if you paint with your soul, that is the true meaning of art.

As a man who is involved in both art and hair styling, where does your true passion lie?

I love edgy, raw, and sexy emotion. It is what defines me as an artist.

What do you consider your specialty?

I love to analyze people and emotion that is under the surface.

With so many unique designs and ideas, where do you gather inspiration?

My inspiration always come from my experience in life and the human beings that crossed my path.

How has your culture influenced you as an artist?

Fashion has always been a big influence on my journey of creating art.

You’ve also had a salon in Montreal, but moved to Vancouver. How would you describe that process, in a word?

Circus, because most of the time, life is like a circus!

How have you developed as an artist over the years?

Around 3 years ago, I started to mainly paint with my 3 favorite colors: black, red, and white.

What are you looking forward to most at this year’s Expo?

This year, I am looking forward to being part of the Expo again. I love the team. I’m looking forward to sharing my emotion with Vancouver, as well as the artist crowd and sharing the true meaning of art with the audience.

For more information about L’Atelier or Yves, please visit: https://www.facebook.com/groups/432888750122625/

BODY PAINT: THE FACEBOOK RESTRAINT-An Interview with Matt Huntley

Matt Huntley is a body painter living, creating and working in Portland, Oregon. His Facebook Fan Page was recently removed due to “nude” photos of his models on his page. Though all models are covered in artistically executed paint and craftsmanship, censorship remains a key issue for body painters like Matt who are trying to push the norms of artistic expression.

Interview with Matt Huntley

by Aly Laube

About: Matt Huntley is an experienced body painter who works primarily with fantastical, horror, and special FX painting.

To see some of Matt’s work, go to:

http://www.modelmayhem.com/mhuntley

Body painting has been a part of the Expo for a while now. Is this your first time taking part in the event and if so, what are you looking forward to?
2013 was my first time attending the event. I met some wonderful people, and the experience was a good one. I didn’t know what to expect, but had a blast, and placed 2nd, so I’m coming back for a second time.

How did you get started in body painting?
I’ve always been an artist, and got in to special effects. After many years doing SFX and theatrical makeup, I got tired of the same work over and over. How many zombies does the world actually need? So I started doing body painting, and love every minute of it.

How did you receive your training?
I’m mostly self taught. I was an art major when I first went to college, but quickly changed career paths. I did intern in the Special Effects field for a few months, and received a decent foundation, but over all I just research various forms of art, talk with painters, sculptors, and makeup artists. I practice all the time with new products, various paint brushes, and airbrushes.

What is the best thing about working in body painting?
I like turning the human canvas into a piece of art. The human form is already such an amazing art piece, so to use it to create is really the best part of body painting. Also, I do like that it’s temporary (this means I don’t have stacks of canvases piled up in my studio.)

The art that you do is very creative. How do you experiment with your work?
I’m always testing new techniques and designs. I test new brushes and new products. I test to see which products work best with each other and how various paints lay on top of each other. I also check my designs against what has already been done, and if I’ve duplicated someone else’s work, I try to change my design when I can. When working with photographers or models, I take their input on what they want the design to look like, and I try to think of a way to get that look as well. I’m always pushing myself to grow as an artist in all aspects of my art.

What inspires you?
Everything. People, shapes, nature, other artists. I get inspired to create different things every day. Sometimes this becomes overwhelming, so I keep a book that I jot down my ideas in.

How have you evolved as an artist over time?
My work has become cleaner, bolder, and more detailed. My use of time has improved, and I’ve become more confident with my designs.

Did you always want to go into body painting?
Actually, I wanted to be an art teacher. After years of exploring all forms of art, I happened into body painting and fell in love with it.

A lot of the work you do is very fantastical. Is it your own ideas or others that inspire you in this area? (i.e.: movies, books, art)
Most of the work I do are my ideas. I do also collaborate with models, and photographers on a basic concept, and they give me artistic freedom. Some of my work might also be an interpretation of some other art work. I have painted a person and a horse, based on work from artist “Olivia De Berardinis”, and of course as a huge Star Wars fan, I have also done a few pieces that follow that genre.

Many different models are used for your artwork. How do you think the model is important to the piece as a whole? This is a tough question. I have designs that are designed around very specific models, and then I have some designs that are designed around body shapes. (tall, short, petite, curvy, etc). That being said, when I’m designing a new painting I will ask the model what his/her favourite colours are, I look at skin tone, eye colour, hair colour, height, length of torso, legs, etc. the shape of the model is important to the design, and the design is important to the model. If you paint a model with a design she loves, she will make that design hers and work it. That being said, some designs are meant for a single shot, straight on, and the model becomes less important. For instance, if I’m hiding a model in a mural, or against a back ground (camouflaging them), for this type of painting the most important part is the placement of the model and lining up the painting.

How is body painting different than other forms of art?
Bodypainting is temporary. First and foremost. Also, what might take an artist painting on canvas 2 or 3 days (or weeks) a body painter must do in a few hours. Our canvas is alive, they move, they stretch. The movement of a foot can change the lines you’ve painted on a cheek… so taking all of that into consideration is very important.

You’ve painted on both men and women. What do you consider the important differences? How about similarities?
Differences? Body hair. When a man is going to be painted, they will shave or wax their entire body before. Rarely will a female model shave or wax her entire body, and then they will make a comment about body hair. Every model, “every single person”, has body hair. It’s just biology. Most of it is light and small and can’t be seen… but you hit that with some paint, and from up close this can be seen. Nudity. Most female models have no problem with being naked for a painting, whereas only a few male models are comfortable enough to get fully nude. Body shape. Simply put, women have more curves, breasts, hips, legs, they are curvier and softer. Similarities? The initial reaction to the paint. Be it brush, sponge or airbrush, their reactions are the same. Most have the same questions about how one gets into bodypainting, as well as how to clean up, so I would say the differences are mostly physical and the similarities are mental.

How did your home life/childhood impact your decision to become an artist?
I’ve just always been an artist. I can’t remember not being an artist. I’ve always drawn and been pulled to various art. My art drove my imagination and my imagination drove my art. Some people are inspired by music, or theatre, or sports, and I was inspired by colour, shape, lines, and creating.

What do you hope to explore as an artist in the future? I’m planning my first trip to the “World Bodypainting Festival” in Austria, June/July 2014. I am hoping to compete, but at the very least paint. I’m hoping to get to work at conventions, as well as do more “Larger” production paintings involving multiple photographers, costumers, and hair stylists.

Read Matt’s interview with the Oregon Times for details about his recent run in with Facebook:

“Portland body-painting artist fights Facebook over nude photos”

http://www.oregonlive.com/entertainment/index.ssf/2014/01/portland_body-painting_artist.html

“Mass Produced Art Ain’t Nothin’ but Cheap Imitation”-Artist Gayle Arnold

We’ve known artist Gayle Arnold for several years. She is an active painter in the Vancouver area, works from Port Coquitlam and participates in all sorts of shows as well as teaching private students. In her response to sharing an interview about her art with the Art World Expo blog, she submitted this piece highlighting what she believes about the Art World today.

The beginning of this video starts out with close-ups of various paintings by Gayle Arnold. They are abstract up close but from a distance they are clearly described images. The music was performed by Gayle Arnold and her partner Justin Symonds, who perform together as The Strangest Days.

“Like” Gayle – http://www.facebook.com/GayleArnoldTSD
The Strangest Days – http://www.reverbnation.com/TheStrangestDays
“Like” TSD http://www.facebook.com/GAJFTSD

For more information about Gayle Arnold, please visit her site:
Gayle’s portfolio website – http://www.gaylearnold.com

Interview with Artist Elaine Kao-Power Ranger at Heart

Founder of Art World Expo, Monika Blichar goes into interview mode with AWE 2014 Exhibitors to search for the meaning of art, the stories within each artist, and the inspirations behind creativity to be found at Art World Expo 2014 in Vancouver, BC. Presenting Elaine Kao, Dino & Panda Inc.

Elaine Kao~Power Ranger at Heart

As a returning artist from Victoria, BC, Elaine has demonstrated growth and artistic transformation since participating for the first time in 2012. Her art and style is not only eye catching, light and fun, but the message that she holds behind the creativity she pours out into doodles, canvas and merchandise is by far the best part of why it is so important to support the arts in our regions as well as globally. Quoting from her fan page which now has over 54,000 fans on Facebook, her motto is “Art work dedicated to making you smile”. Simply perfect.

1) When did you start making art?

My parents say I used to draw snowmen when I was maybe 3 or 4 years old (holding the crayons with a fist). My first big inspiration for wanting to be an artist was after watching Sailor Moon (a Japanese animation) when I was in grade 1. After that I spent most of my time drawing the characters and became really interested in the Japanese anime style of art. I always enjoyed art class throughout grade school. In grade 12, my art teacher let me do my own thing in the back of the room because he knew I could do the exercises he was making everyone else do. That was the first time I painted on canvas with acrylics. Then, against the will of my parents, I applied and got accepted into the Visual Arts program at the University of Victoria.

2) How do you feel about the art scene in our province?

I don’t know about the rest of the province, but I always find that Vancouver Island, and Vancouver have lots of exciting things going on. The art scene is definitely growing every day as young artists are being given more and more opportunities to show and share their work and love of art. I especially love events that bring the community together. One of my favorite events is the annual Art Gallery Paint-In (Victoria, BC.)

3) Describe your goals for your art practice.

My goals in art and everything is to become better and better, and perhaps along the way discover new skills and talents. Recently I’ve been really interested in the 3D painting of Riusuke Fukahori and Keng Lye. I’ve been busy with school so I haven’t had a chance to experiment with resin and painting 3D yet, but one day! On my Dino & Panda fanpage my tagline is “Artwork dedicated to making you smile.” I’d say that’s my biggest goal and motivation when I’m making art. Of course, I’m only human, and I have some sad days which gets translated into my artwork, but I think my fans can connect with those moments too, because I believe I’m not the only one dealing with the curve balls life throws.

4) How has Social Media helped your art career? (specifically your 54,000+ fans on Facebook)

At first, I was just using social media to share my artwork and random doodles with my friends but it quickly grew into an awesome way to spread my work even farther…all the way around the world, in fact! I think it’s the greatest motivation to have people from all over the world connecting with my artwork and cheering me on even when I’m down  I know everyone says this, but I have the best fans ever! Fans sometimes send me messages about commissions or drawing requests which I’m happy to work on. Other fans message me just to tell me their story about how one of my drawings may have held special meaning for them and made them feel better after a bad day. Without social media it wouldn’t be possible to connect with so many people.

5) Do you have any special talents or interesting goals you would like readers to know about you?

I’ve been playing the piano since I was 6, and the ukulele since grade 6. I actually teach piano and ukulele! I’m also practicing guitar on my own. I love to sing and I have a bunch of cover songs on Youtube in a few different languages. Other than music, I am a language nerd and there are 7 languages I want to become fluent in (Mandarin, Korean, Japanese, Italian, Spanish, French, and Greek.) I also speak Cantonese 

6) If you could do anything you wanted, what would it be?

I would be a Power Ranger. Other than that I’m pretty much doing what I want right now, working hard on becoming an awesome teacher!

7) Who inspires you to make art?

Everyone, everything, everywhere and anywhere. From real people to fictional characters, everyone has a story to share and there’s bound to be something interesting!

8) Where can readers purchase your art?

I haven’t had time to look into establishing an online store, and I also don’t have much merchandise yet, but if anyone is interested they can just send me an email, or message on the fanpage. Everyone is welcome to visit me at the Art World Expo, of course! Become a fan of my Dino & Panda and I’ll post updates whenever I will be appearing in art shows!

9) Why do you feel art is important to the individual and to society?

I think art is important to the individual and the society because it’s a way to express opinions, and feelings which may be hard to put into words. Personally, art has been a very important aspect of my life because I’m inherently introverted and I used to be the shyest person you could ever meet. Without art and music as outlets I might as well have been invisible, letting everything, good and bad, build up inside until I explode and disappear. It’s important to understand that you are a valuable person within a society and your story is worth sharing. No one is ever really alone, after all! Besides, creating art is, in most cases, the least destructive thing a person can do when dealing with anger, frustration, and all those negative emotions. Even if a person claims to be the most artistically challenged person in the world, they can still appreciate and connect with the visual stimuli they encounter in their surroundings.

10) Lastly, what do you like about being in the Art World Expo showcase?

I love being a part of the Art World Expo because I get to see many different styles and disciplines of art from many artists. It’s both inspiring and encouraging. Because I’ve been in the Art World Expo for a few years now, it’s exciting to see every aspect of the show improving each year.

To learn more about Elaine and Dino & Panda Inc., visit her fan page on Facebook:

https://www.facebook.com/Dino.Panda.Inc