journal of creative arts and minds, vol. 1, no. 1 – june 2015

JCAM, Vol. 1, No. 1

Journal of Creative Arts and MindsVol.1, No.1, June 2015

An Original Publication of Jumbo Arts InternationalRed Springs, North Carolina, USA

ISBN: 978-0-9965432-0-0 / ISSN Pending

Jumbo Arts International

3

Journal of Creative Arts and Minds

Published by

Margie Labadie, PresidentJohn Antoine Labadie, Senior Editor

Larry Arnold, Board Member

Electronic Links

https://www.facebook.com/JournalofCreativeArtsandMinds

http://www.jumboartsinternational.org

Jumbo Arts International Contact Information

217 South Edinborough St.Red Springs, North Carolina 28377-1233

01.910.734.3223

Editorial Artists, John Antoine Labadie

Editorial Writers, Margie Labadie

Design The JCAM Team of Jumbo Arts International

The Journal of Creative Arts and Minds is a publication of Jumbo Arts International. This electronic publication is free. The views and opinions expressed in this

publication do not necessarily represent those of the publisher.

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Journal of Creative Arts and MindsVol.1, No.1, June 2015

CONTENTS

About this Publication pages 3 & 4

Contents page 5

Message from the President of Jumbo Arts International page 6

Message from the Editor of JCAM page 7

Visual Artists pages 9 through 180

Creative Writers pages 183 through 214

Information for Potential Submitters page 217

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Message from the President

Years ago, we at Jumbo Arts International started a joyful journey to meet and interact with fine artists, musicians, writers, poets, dancers, actors, crafts people, and of course, audiences. In the spirit of teaching and learning, through creativity and conversation, we have opened our hearts and made new friends both face to face and through the wonders of digital technologies. From Budapest to Baltimore, Paris to St. Petersburg, Hyderabad to Halifax, Manaus to Malaga, Tel Aviv to Taipei, Reykjavik to Red Springs, we have learned that in the Arts, a striking visual image

can tell a story without words; a spoken word can send a kiss without a touch; and a powerful song can touch a heart with just a melody. Through the Arts, an audience of thousands can see, and hear and speak as one, and cultures can join together in peace.

The Arts are everywhere. For years we have dreamed of finding a meaningful way to create an international confluence of readers and contributors who would join together with us on our journeys near and far. We have found it.

Welcome to the Journal of Creative Arts and Minds!

Margie LabadiePresident, Jumbo Arts InternationalRed Springs, North Carolina, [email protected]

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Journal of Creative Arts and MindsMessage from the Editor:

Today, 30 June 2015, we publish Vol.1, No.1 of Jumbo Arts Internationals Journal of Creative Arts and Minds. We will publish two editions a year. On 30 December we will publish Vol.1., No.2.

As with many other projects developed and offered to the public by Jumbo, the effort that has become JCAM evolved over time and is connected to our mission to support the arts, creativity, and

improved mutual understanding of life ways and creative passions on an international level.

The JCAM is truly a 21st century publication. This journal was born of personal connectivity, using social media as the primary means of communication. The JCAM was grown though cloud storage, is published in an electronic form online, and is available as a free PDF (portable document file) download all made possible through the site hosting the journal.

As readers will clearly see, the creatives whose works are included in Vol.1, No.1represent a wide range of countries, cultures, media, ages and levels of experience.And although all contributors were guided by our staff, each persons submission isunique and was allowed to develop as organically as possible given the technicallimitations of our online publishing format at this time. This way of working undergirds allefforts associated with Jumbo Arts International and will be embedded in all futureissues of the JCAM. Enjoy!

John Antoine LabadieSenior EditorJournal of Creative Arts and [email protected]

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VISUALARTISTS

Journal of Creative Arts and Minds

June 2015/Vol. 1, No. 1

Afanassy PudThe artist Afanassy Pud (Fainzilber Eugeny) was born in Leningrad in 1951, and lives there now. He completed Leningrad Polytechnic Institute and his PhD there. At this time he a mathematician. Since 1983 Afanassy has been the copartner of Partnership of Experimental Fine Art in Leningrad where he has participated in all exhibitions staged by the Partnership. Over this time works by Afanassy Pud frequently were deleted from exhibitions by representatives of government authorities and the KGB. Even so, Afanassy Pud has participanted in more than 40 exhibitions in St.Petersburg, Russia and many other cities. His art is held in private collections of Russia, USA, Germany,

Austria, France, Italy, Canada, Holland and also in Museum of Art of Nonconformism in St.Petersburg, Russia.

In his own words, Afanassy Pud describes his artistic path and practice:

I began to draw in 1970, before which I'd never really tried it. But after that I formally studied drawing and painting at a studio in St. Petersburg for one year, followed with learning all by myself in my spare time since then. Through all these years I made drawings with pen-and-ink, and paintings in oil.

"As I am a scientist and programmer, it was not difficult for me to learn to draw in the digital environment, and so I began to make pictures on the computer in 1996, using the Corel and Photostyler software programs of the time. Today, my software of choice is Corel Photo-Paint.

Corel Photo-Paint gives me many new possibilities ... sometimes too many possibilities. I use only a small part of these possibilities and that suffices. Sometimes I know what I want to draw; then, how to draw prompts the computer. Sometimes I know how I want to draw; then the picture is born by itself. But the main thing here is not the computer, it's the artist. The good artist will draw a good picture whether his tools are either his bare hands, or traditional paints and brush, or a cutting-edge computer

When I began to draw on the computer, the concept of style disappeared for me, even though I do have my style in the usual graphics. It seems to me that this is not so bad, for while I have series of works fulfilled on the computer in one style, the styles of different series are different.

"I do not make commercial works on the computer. Therefore everything that I do on the computer, I do with pleasure and thus I have no problems. I am simply a traditional artist, drawing on the computer. Perhaps unfortunately, I do not have time to be

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engaged on the computer in something else, though I very much would like to learn more about these new creative media.

I need to work. I still should be working in science. But for 45 years I am also an artist. And in that, my belief is: "Digital Art - Our Future!"

Wolfing

Theatre

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In the WoodAfanassy Pud

MountainAfanassy Pud

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Favorite Animal of DeputaryAfanassy Pud

Getting from Deputaries Sausages, Oil and Other MineralsAfanassy Pud

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Schoolboy Goes on the Deputary of Transport Chamber at Math LessonAfanassy Pud

LandscapeAfanassy Pud

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Deputary Whistles Out to School Students Bachs FugueAfanassy Pud

Deputary in RotationAfanassy Pud

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Avinash Chandra LittleAvinash Chandra Little has a B.F.A. in Applied Arts & M.F.A inPhotography from College of Arts & Craft, Lucknow, UttarPradesh, India. Little has as been regular exhibitor for over 20years. Invited as jury member in various All India & InternationalPhotography and Arts competitions. Has been member expert,selection committee by government organizations in India. Hehas more than 300 works exhibited in over 70 International,National & All India Photography Exhibitions, and has won over30 Awards in group show held internationally.

JCAM: Tell us about yourself.

ACL: Professionally I am known Avinash Little or most people just call me Little. Iwas born and brought up in Lucknow , Uttar Pradesh, India. This city is known as cityof Nawabs, its a beautiful historical city which has been testimony of many battles offreedom including the mutiny of 1857. This city inspires me very much even today as Ibegan my journey of creativity from here when I joined Famous College of Arts &Crafts Lucknow in 1983 as student of Applied Arts. My friends, seniors in art field, aswell as my family has always been supportive of my creative adventures. Theirsupport and presence makes a big difference in my life as they are the ones whoencouraged and motivated me to start my creative journey again which had come toalmost a halt many years back in a low emotional phase of life.

JCAM: Tell us about how your art has developed over time.

ACL: My personal interest in arts began in my childhood. I believe every child has anartist hidden in himself because that is the time of age when you are full of curiosity tounearth every jumble and play with your own creativity which gets tracked in lateryears of childhood to teen age, gets polished in manhood from teen hood, gets refinedin mature hood from manhood. This process of refinement is never ending till acreative person lives. My father himself, being an able artist, did not want me tobecome an artist; initially he wanted me to go in science field but he had to forgo hiswill before my stubbornness to go into art field. Once I started photography training myeyes to look different perspective. Landscapes and architectural photography was mymain interest and I closely followed Ansel Adams the great landscape photographer.I was influenced so much by his style that it still reflects in my landscape photography.The biggest compliment came to me after three four years when I started participatingin professional exhibitions of photography after finishing my 5 yrs graduation course inArts (BFA), late Benu Sen world famous landscapist was in jury in one of theexhibition. He said Your work is like Ansel Adams! I couldnt believe that such a bigcompliment would come from Benu Sen as he used to speak very little and was a veryreserved kind of person and very critical evaluator.

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I also had great passion for abstracts which I developed and made my forte in laterstage of learning. Learning is a process which never ends I believe. I always wantedto create a distinct style which could carry and become my signature style of work, so Istarted working with a different approach on Nature/Flower abstracts and startedcreating wash painting like works through photography without doing any manipulationon computer as I wanted these paintings or works to reflect my creative thoughtswhich generated at the time of shooting not an after process or thought where clickrandomly and sit to take out and make creations. This style of my work brought memany National and International recognitions. Above all it brought me great sense ofpersonal satisfaction because it established me successfully in creative field markingmy own style.

Over the times my works has changed into a distinct style and now I find it very easyto see things within no time with naked eyes and when I look through my camera Ieasily float into creative dream world to make works of art. Through my style I amtrying to communicate people that camera is not meant for record or eventphotography but it can be used as a good medium of creative arts, take camera as apainter has brush in his hands and play with it. In abstract photography process I ammainly working on two themes one is purely landscape like creations and the other isthematic work as Shakti series in which I am working on seeing and bringing outfemale body part (Female vulva). In Hindu mythology female is consideredShakti (Power) and that is the centre point or source of Energy by Hindu mythology.I believe its true it is not a sex object but a source of real energy universe revolvearound a new life takes birth. This form or shape can be seen and found everywherelike in seeds, anthers etc. I have given some of works of this series titled Shakti and Iam very proud of the works published here Shakti energy source) where one feelsthe powerful heating energy yet calm and tranquil that is the charisma of this source.

JCAM: Tell us about your art-making process.

ACL: My camera is my brush and its focal plane (sensor in digital cameras and filmplane in analogue cameras where image is recorded or exposed) is my canvas. I keeplooking around at otherwise ordinary things like flowers, leafs, objects, patterns etc. Icreate a rough image in my mind of what could be taken from those inspirationalmoments and then carefully frame my image in viewfinder composing playing aroundwith light, shade, colour, forms. I usually dont do post processing cropping to makethe compositions. I call my works digital paintings. When opening my images oncomputer I work on their tones, colour values, forms depths. I do some tweaking,enhancing, balancing without adding any foreign element into my images unless I amworking on surrealistic creation. Camera and computer are my tools of creations I use.In future I would like to use my digital creative works using acrylic painting medium.

JCAM: Tell us about your life as an artist.

ACL: I sold my first work in 1991 they were purely pictorial landscapes for calendars.Selling art works in India is not very easy, yet some of my works are in permanent

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collection of the Uttar Pradesh State Lalit Kala Akademi, Lucknow and the NationalLalit kala Akademi, New Delhi, India, at the International Federation of PhotographicArt, France, and a portfolio of 20 works at Image Colleague Society in the USA.

JCAM: How do you see your future as an artist?

ACL: My goal for the future is to leave a mark in digital paintings or in the style of myown I am working upon. This style of work is hugely appreciated more in othercountries than in India and I want to make a place on the global horizon with mycreative approach. I have been working on creative abstracts for the past many yearsand want to carry that on at the world level.

JCAM: Can you tell us about your greatest Inspiration?

ACL: Certainly it is my father, the late P.C. Little the great Philosopher Artist. He wasmy first inspiration since being his son I had the opportunity to see him workingclosely. I still remember copying his works in his absence. My other two inspirationsare Salvador Dali for his surrealistic works and Picasso for his Cubism. These artistsin particular have always inspired me and I wish I could own at least one work of eachof these artists.

JCAM: Can you tell us your views on creativity?

ACL: What creativity is a big question ... what is creative to me may not be creative toothers. The perception differs from person to person. My idea of creativity is to see thethings others cant see and make them visible to the common man. I remember onesuch incident: I was taking pictures lying on the ground in the morning at a park, therewere morning walkers passing by one of the passerby stood behind me and when Iwas done with my shooting he politely asked me, Sir what were you clicking at theground I dont see anything beautiful here accept fallen leaf? I told him that I wasshooting the big palm leaf fallen on the ground with the angular morning light passingthrough its folded forms creating colourful glow which looks like landscape andshowed him it in my camera. He was stunned to see it as he still couldnt believe it isthe same thing. So that is creativity to make ordinary things look artistic and make itvisible to common person. My advice to all the students of creative arts is this: trainyour eyes to look beyond the horizon. Initially there will be many failures but repeatedefforts will bear fruits. Dont be slave of tools and techniques, but make them yourslaves. Try to copy the masters not become like them you cant be them they wereonly one Dali, Picasso, Usuf Carsh, Ansel Adams, Edward Weston. If you try to copythem and achieve results near like them that means you have trained your hands ontools and your eyes to see things, now you are ready to create and establish your ownstyle through which you can be identified, so students dont be copy cat only beyourself.

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Loving PairAvinash Chandra Little

After the UnionAvinash Chandra Little

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Power TriangleAvinash Chandra Little

Power UnionAvinash Chandra Little

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Little Volcano 1Avinash Chandra Little


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Rising Heat 12Avinash Chandra Little

Seduction 1Avinash Chandra Little

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Little Shakti 2Avinash Chandra Little

Little Shakti 3Avinash Chandra Little

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Red Dunes 9Avinash Chandra Little

Sun Rise at Red Desert 10Avinash Chandra Little

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Bernard DumaineJCAM: Tell us about yourself.

BD: My professional name is the same than the one I was born with, except for my Deviant Art account where I am registered as Bernardumaine.

I was born in Angoulme, a small and beautiful town located in the southwest of France; I still love to paint or draw landscapes in-spired by streets of this place.

"Tic-Tac" by Bernard Dumaine/ Oil on canvas / 1979

My parents have supported me since a very young age, then my wife Catherine helped me a lot to continue making art. The internet connections I got later on. Online I shared

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"Les liaisons viscrales" E.C. by Bernard Dumaine with Katerine Aubry (lower half) Oil on canvas (2013)

my works and found were supportive as well for I received lots of enthusiastic comments on sites such as Renderosity and also Deviantart which fueled me toward producing new works.These virtual encounters led me up to collaborations done under the method of the Exquisite corpse in which each collaborator adds a sequence, being allowed to see only the end of what the previous person contributed.

JCAM: What can you tell us about your history of art making?

BD: My very first drawings, at about the age of 3, were of steam locomotives (very stylised as far as I can remember). I was living nearby the Paris -Bordeaux railway line and I was fascinated by these machines. Later on, I had classes, one afternoon a week, at the local Fine Art School where I had to draw or paint still-lifes or plaster copies of ancient sculptures. At the age of 19, I worked for a year in a printing house, but this job became quite boring and repetitive and I felt into depression; Art seemed to me the best way to breathe anew and this motived me to join The Fine Art School in order to

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prepare for a National Diploma in sculpture which was the sole diploma the school could provide to students.

JCAM: What can you tell us about your artistic practice?

BD: Why do I make art now? I can't reply directly to this question, but I know I am feel-ing really bad when I cannot draw or paint, being stuck or uninspired ....

My art has evolved from "classical" still lifes, portraits, landscapes which was impor-tant in order to get technical skills, to Surrealism, related to inner visions and imagina-tion pictures.

In making art I have never tried to have something "pretty-pretty" in my creations no matter what the subject was. For example, I have portrayed ordinary people, or land-scapes where no one could see of anything of interest. On another hand, I love the inspirational freedom that Surrealism offers and I wish I could stimulate the viewer's imagination with my creations. I am very proud of my series "Humble" and I share this drawing here.

"Humble 9" Pencils on Canson card

by Bernard Dumaine 40 x 50 cm / 2010

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This work "Humble 9" is a pencil drawing of a piece of clay which I created very quickly and randomly, sort of automatic-sculpture. I choose the word humble to title this series cause it is the same word with same meaning both in English and French.

I like the paradox between the rather abstract appearance of my model and its photorealistic rendering, as well as the opposite between the fastness to create the "sculpture" a few minutes and the full month time spent on the drawing itself. My aim was to share a very humble thing drawn with high technical skills to make viewers know that beauty can be found in very modest things.

This series is close to the ideas developed by "l'Arte Povera" an Italian artistic movement, which guides towards the revelation of the mystery of existence in the most banal, the most insignificant, the most usuals objects.

JCAM: Are there any specific art-making techniques, media or activities you would like to discuss?

BD: My favourite artist tool still remains the pencil because of its simplicity, a drawing can be made all the time everywhere.

It's difficult to tell how and when a work is finished, there are no rules there, just a ques-tion of feeling. I am currently working on a collaboration. With this collaboration I should achieve an exquisite corpse in oils with an artist from the United States.

I enjoyed quite a lot actually making some experiments in video some years ago. Un-fortunately, none of the software I was using is currently available so I stopped this path. Here is one of those works, The Green Frame.

https://www.youtube.com/watch?v=TVlGGDjnylo&list=PLC63A6E20004A6A73

I sold my first artwork during my very first exhibition back in 1977. Unfortunately, I have no photograph of this Surrealist drawing. Since that time I have never made a living with my art. I sell works in a very random way and I have never been supported by a gallery, so I have been working at various studios making backgrounds for cartoons for TV.

JCAM: What about your future in the arts?

BD: I have no special goals in the future, just carrying on as an artist seems enough of a goal. Of course, I wish I could sell some works at upcoming group exhibitions! I enjoy being in exhibitions. I will participate in May 2015 in the "HR Giger tribute" in Teramo, Italy, and later in an exhibition dedicated to the Exquisite Corpse in Richmond, Virginia USA, with 3 drawings. Additionally, I am awaiting for the completion of some exquisite corpses collaborations which were shipped to The Netherlands, Canada and the United States.

JCAM: What can you tell us about the inspiration for your art works?

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BD:My inspiration comes differently according to the style I work with. With the style of photorealism, I like to paint ordinary people or places. For example.

Pictures at an Exhibition / Oil on canvas by Bernard Dumaine/ 2014

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Sans titre W Pencils on Canson by Bernard Dumaine / 40 x 50 cm / 1988

My Surrealist inspiration comes from my imagination only. My Surrealist works are sort of experiments combined with a lot of chance; They are like discoveries, for I don't know how my drawing will evolve till I am finished.

I would like to quote a French painter, Grard Titus-Carmel, as one of my favourite living artist. His process, in the 80's, was to create his own models in sculpture, wooden frames over which were tied up some pieces of sheets, then drawn with a photorealistic rendering. He was a real inspiration for me. I wish I could own The garden of earthly delights by Hieronymous Bosch, an extraordinary painting, so beautifully done and in-ventive. A magnificent work!

JCAM: Can you share your thoughts about creativity?

BD: Well, I guess thinking, and then working, are the keys to creativity. Whatsoever I like to browse pictures both in books and on the Internet. I find this helpful or my exquisite corpse works. My collaborative work The Harbingers is an example.

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The Harbingers Exquisite corpse by Bernard Dumaine with Karena A. Karras/ A work originally executed in pencils on paper / 2010

Creativity has a lot to do with work. Dorothea Tanning said ... inspiration comes in painting. This is the best advice I ever had to create!

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Burritt E. Benson IIIJCAM: Where were you born and does that place still influence you?

BEB: I was born and raised in Lumberton, North Carolina. After college at the University of North Carolina Wilmington I moved back to Lumberton and have been here in Robeson County ever since. Lumberton, the whole of southeastern North Carolina actually, has been a huge influence. Here I have lots of friends and family, theres always something happening, I have to fight somedays for my studio time.

JCAM: Do you have family, friends, or fellow artists who support you in your work, life and art making, and how do they make a difference in your life?

BEB: I owe my dad everything for giving me his blessing to pursue being a full time artist way back in 2004 and for his continued support & encouragement ever since. Im very fortunate my entire family is supportive and believes in what Im doing. Ive made several great friends all along the way whove really helped me and made a huge difference in my life. John Antoine Labadie, Margie Labadie, Tarelton Blackwell, and John Luster are at the very top of this list. Theyve all been unwavering in their support and have always answered my questions and offered great advice in return. Theyre fellow artists and they understand exactly where Im at and what Im trying to accomplish, even when I dont. Our close friendships have meant everything to me, Id not be painting right now if not for them.

JCAM: When and how did you start making art? BEB: Ive asked my family about that. My mom says Ive been drawing ever since I could hold a pencil. She also says I was a good boy because I would keep myself entertained and occupied by drawing all the time.

JCAM: Can you describe the time when you first realized that creating was something you absolutely had to do? BEB: Nope, its just always been a given, my circumstances always dictated my path. Think I made up for it by doodling drawing spontaneously every opportunity I got.

JCAM: Why do you make art now?

BEB: To attain my dream of supporting my family via my art. I really love painting and drawing and feel its what I was born to do. If I didnt paint and draw, Id probably explode.

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JCAM: How has your work changed or developed over time?

BEB: Its always changing for the better. Im very open to spontaneity in my artistic process, which has me finding new things constantly. My confidence in what Im doing and painting has grown tremendously. Figuring out my voice frustrates and excites me, and keeps me motivated now more than ever.

JCAM: What are you trying to communicate with your art?

BEB: Something that pulls the viewer closer and just excites their imagination rewardingly. Interpretations usually always vary, and Im fine with that.

JCAM: Of the artworks published in this issue of JCAM is there one of you are which most proud? If so, why?

BEB: Not really, I love all of them. Each one is special to me because I see what I was experimenting with at the time. Im like, Oh yeah that was a lot of fun!

JCAM: What kind of creative patterns, routines or rituals do you have? BEB: I pretty much keep my studio up to par where I can walk in and immediately begin painting. When beginning to work I usually select an iTunes radio channel from my playlist, and make sure I have a glass of water nearby, and get right to work on whatever canvases are in the studio at that time. Time is of the essence. I have to work when I can work.

JCAM: What element of art making do you enjoy the most and why? BEB: That would definitely be attacking a blank canvas and just letting my imagination run freely as Im painting on it. That excites me the most. No matter what size the canvas is I am excited about making that space my own ... nothing in art making is more interesting than that to me.

JCAM: What is your most important artist tool(s) and why? BEB: Artists tools have change from what they once were. Even so, Id say my brushes are number one, and close behind is Adobe Photoshop. I take good care of my brushes now too. Photoshop is great for testing colors on a painting, and it saves a lot of time.

JCAM: How do you know when a work is finished? BEB: Sometimes I do not know if a work is finished. For that reason I paint over many canvases. But sometimes its different. Why? I know a work is finished when I dont want to do anything else to it. Thats a great feeling too!

JCAM: What are the art making tools you use now?

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BEB: If we are talking about physical painting ... not working on the computer, most often I paint on canvas with acrylic paints. Id say my brushes are my main tool. Acrylic paints let me move quickly. The are amazing in that way. With digital tools Photoshop is great for testing what a color would look like or whatever changes you would like to make to a painting before actually making them.

JCAM: What new creative medium would you love to pursue? BEB: I would like to pursue printmaking at some point. Making editions of my work appeals to me. Ive seen the way many artists take their ideas to printmaking studios and move into printmaking with the agreed upon assistance of master printmakers who assist them in making professional quality editions of their work.

JCAM: What's the first artwork you ever sold? BEB: Probably the fake i.d.s I made back in high school. But, seriously, Ive sold a number of works that were commercial and others that were fine art it feels good to have others invest in your work.

JCAM: What are your goals for the future, both work-wise and life? BEB: My goals are the same for both, keep painting until I cant paint no more. More specifically, I want to learn new media and explore new (to me) ways of making work. I thin that an artist needs to expand his/her way(s) of work every day ... not once in a while; but all the time.

JCAM: What are you working on at the moment? BEB: Ive got about 20 different paintings going at the moment. Some are very detailed and some of them are very loose and abstract. At the moment Im painting on the spontaneous abstract ones.

JCAM: What or who inspires you? BEB: I draw inspiration from my life, family, friends and God. I have a simple rule really, I try very hard not to paint anything that I would be ashamed to show my mom or God.

JCAM: Where do you find ideas for your creative work? BEB: My imagination is always going full speed ahead. Id say a lot of my ideas come from my spontaneous doodles where I draw upon my life experiences and whatever is happening at the moment. If I have a drawing pad and a sharpie marker Im happy.

JCAM: What does being creative mean to you? BEB: Creating spontaneous imaginative paintings that bring me joy while painting them.

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JCAM: What is the best advice you ever had about how to be more creative? BEB: Not sure who told me this, but it was something like this: use the biggest brush you possibly can while painting and always give it your very best, no exceptions or excuses.

Burritt E. Benson III in his studio in Lumberton, North Carolina, USA.

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Heroes WantedBurritt E. Benson III

The Potters DreamBurritt E. Benson III

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Modern MedusaBurritt E. Benson III

Dragonslayer For HireBurritt E. Benson III

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Moonlight CrittersBurritt E. Benson III

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King MeBurritt E. Benson III

One Burritt E. Benson III

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Gina GibsonJCAM: Tell us about yourself

GG: My name is Gina Gibson. I was born and raised in North Carolina. I grew up enjoying quick trips to the beach and afternoons to movies and malls. I moved to South Dakota about six years ago to teach at a university in a small, beautiful town in the Black Hills. The transition was startling. There were no malls to frequent or an ocean near by. But I have found a place in the hills. I have learned to love hiking, biking and snowshoeing. The hills have invaded my artwork and writing. I have also traveled abroad to places in Europe and Asia. In particular, Japan has found a way

into my artwork as well. Elements such as water, hills, valleys, and architecture are a part of my work.

JCAM: When and how did you start making art?

GG: I dont remember a time where I didnt feel the impulse to make things. Making and seeing things connects me to not only my inner-self in a deeper way but also makes me feel connected to the outside world. I feel more connected to other people, nature, and myself.

JCAM: What kind of creative patterns, routines or rituals do you have?

GG: I enjoy the process of taking photographs and drawings and then manipulating them with digital tools such as Adobe Photoshop and Illustrator. I never really feel like a work is finished. Its just finished for now. At some point a piece is in a place where it just feels right. Its unspoken. Maybe there is a rhythm or the colors work in a way that is new and enjoyable for me. I try to stop whenever I think I want to keep looking at the piece. If it causes me to pause, I stop.

JCAM: Do you make a living from your art?

GG: I have not had to make a living from my artwork. I remember selling a piece of artwork when I was in High School and being very proud.

JCAM: What are your goals for the future, both work-wise and life?

GG: I just want to keep learning to live in balance. I want to find time to work, play, and to look at the world with open eyes.

JCAM: Can you explain what inspired a piece or idea particular work to be published with this interview:?

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GG: Some of the pieces submitted to this journal were inspired by a trip to Japan. The imagery was derived from my travels there.

Other pieces were inspired by the Black Hills of South Dakota where I live. I am inspired by architecture and nature. Sometimes I will think a door or the corner of a roof is beautiful and worthy of a longer look. I try to take the time to ponder and really see things rather than just look at them casually. Its hard to slow down but slowing down helps me as an artist and as a person.

JCAM: Where do you find ideas for your creative work? What does being creative mean to you? What is the best advice you ever had about how to be more creative?

GG: Allow yourself to explore those things that interest you (within reason). If you find something grabs your attention, chase it. Maybe you always wanted to try pottery, try it. Maybe you want to paint nothing but abstract triangles for a while, paint it. Why not? Dont be afraid that it is clich or overdone. Have you done it? And there is no need to think the thing you are working on right now has to be a masterpiece. It can be a part of your journey as a person, It can be something you made that connected you in some way. Just take pleasure in making.

Gina Gibson: Artist Statement

My recent body of work consists of digitally manipulated photographs. My current series, Into the Hills is based on images captured in and around the Black Hills of South Dakota. I moved to South Dakota from North Carolina in 2008. The move was startling for me visually. I went from familiar swamps and beaches to foreign rock formations and waves of grasslands. This series focuses on my hikes, bike rides and snowshoe outings. I keep a camera and sketchbook on me. And these images become a source of inspiration that I use as an artist. Aesthetically I am interested in abstraction, repetition, pattern and color. Making this work allows me to explore these elements and more.

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UntitledDigital Media

Gina Gibson


Gina Gibson

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Gina Gibson

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Into the Hills: Bear ButteDigital MediaGina Gibson

Into the Hills: Theon StoneDigital MediaGina Gibson

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Into the Hills: JorgensenDigital MediaGina Gibson

Into the Hills: Roughlock FallsDigital MediaGina Gibson

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Into the Hills: Iron CreekDigital MediaGina Gibson

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Gopakumar R.P. JCAM: Tell us about yourself.

GRP: I was born in Oachira, a small beautiful village in the southern state of Kerala in India. My birth place still influences, both directly and indirectly, my works of art.

I was born in an average agricultural family in that area. The financial delicacy of the average Indian family affected my family living also. Our main source of Income was the earnings we get from farming and related items. The natural calamities and socials

aspects affected the growth of the field and led to the decay of our financial development.

Though it is the part of the life, we are very much delighted to see and part take in the festivals and the temple related art and the rituals and ceremonies of that period. Of course the natural beauty and the innocence of my village and villagers gave me enthusiasm to look further beyond my upbringings.

In the beginning of 1980s two of my brother went to Arabian Gulf countries for seeking bread and butter, this has changed the financial background of my family. The flow of the Gulf money helped to grow financially and upgrade the living situation of many average Indian nationals especially for a Keralite of that period.

In the later 90s, for a betterment of life, I also moved to the Gulf country, Bahrain following the same path of my elder brothers. Bahrain is usually called the Land of Pearls, a beautiful country with lots of greenish scenes and a country of religious harmony. Calligraphy of this land, faded colors, smell of the carpets and the sculpture of this land influenced me a lot.

I am working in the creative department of an IT firm. My experience in this field for the last eighteen years must have been influenced me to turn to a digital artist. I usually use the digital medium.

I consider my artwork as an ideology rather than a medium. To make it fulfill the ideology, I may sometimes use traditional media, or sometimes digital or video as the medium. For example, the peasants of India and their life become the subject of my work, I used their very common dress item Lungi to draw them and their feelings in dark colour. This work of art I hanged in Coir same like we used to hang our dress to dry. I like always this type of experimental work of art. These works were exhibited in the Kochi Muziris Biennale (Collateral Project).

I stay in Bahrain with my family, which consist of my wife and two kids, I like to spend time them. After my Diploma in art (1990-1995 Five Year NDFA (Painting) from The Raja

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Ravi Varma College of Fine Arts, Mavelikara, Kerala, India.), Internet helped me a lot to study more, especially Google was like a companion. Later the training (Contemporary Art, Catalysts: Artists Creating with Sound, Video, and Time) received from the Museum of Modern Art (MoMA), New York, USA. Teh Internet simply gave me a boost in my art education and the working style. I got many friends through Internet and I value the friendship of all, Dr. John Antoine Labadies friendship I value most. His deep knowledge in digital art influenced me a lot.

JCAM: Can you talk to us about how you make art and what you are trying to communicate with your art?

GRP: I get many ideas from my surroundings. When I get an idea, I look around and see the possibility to make it a reality and most of the time I believe I succeeded in the process. First I mark up the idea in my notebook and later it forms to a work of art. Sometimes news, a scene, or anything around me may influence a work of art. But at the same time, I confess that all the ideas came in my mind did not come in to reality. For example, when I was undergoing training in MoMA, I got an idea that 24 Hours-Real time - 2012, I have to keep HD 3D live camera in many places in the world and to display in circle stand in a world famous museum. Through this idea, the famous cities, wild life, monuments, Space, Underwater, these all could have been presented in one place. But this is not come in to reality. When we see all together in one place, we will get more clear idea about what we are where we stand. But still this project stands middle in my mind as a Dream project. To complete this project, I need sponsors like Discovery channel.

I believe the work of art should change the existing visual, intellectual and aesthetic sense and experiment with finding new visual phenomena.

The lions share of my work of art are social questioning, many of these works are done in conceptual style. My work of art medium is Traditional, digital and video. Among these, , The Lungi Series of work of art is the most important one. The linguistic River made in the Digital medium (Net Art), On your own 2014 & Must not be beautiful-2014, which made in the video loop GIF Art are other important works. Among these The Lungi exhibited in Kochi muziris Biennale (Collateral Project) and On your own 2014 The Saatchi Gallery, London, UK, The Motion Photography Prize Exhibition, and Must not be beautiful-2014 exhibited in Tate Britain, UK - Source Spotlight Display Texture & Collage Exhibition. This was one of the major achievements.

When I get a concept, I start the work, which may continue until it completes, other than the finishing work will be competed maximum in one stretch. I like line color and texture very much. Why I liked very much because it can be expressed spontaneously. I choose the medium depends upon the subject.

JCAM: What is your vision for your future as an artist?

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GRP: To become a full time artist To express the idea coming in mind to the world as it is. I want to create experimental works in my own studio and share these internationally.

Gopakumar R.P.

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Mind Scape 1Gopakumar R.P.

Must Not Be BeautifulGopakumar R.P.

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Exhibition Catalogue EssayOctober 2014

The artist Gopakumar was born in a small village of Kerala, India where the term Lungi is very familiar. As all living in South Asia are already aware, and phrased in the words of Gopakumar himself: The Lungi is the most popular casual dress of the peasants and common people of the developing world or the underdeveloped world. The artist has taken a central aspect of the everyday visual appearance of many persons living in India as a metaphor for his art works for this exhibition.

In this way The Lungi is takes on new meaning where Gopakumar and all others who wear this traditional garment are seen as fellow voyagers in their daily comforts and discomforts. For the artist it does not matter whether Lungi wearing compatriots are inagricultural fields, in markets or even at home. In his artworks the artist uses this nearly ubiquitous garment as a powerful visual tool to acknowledge the lives, the work, the ideas, the sweat and the tears of tens of millions of people.

As Lungis can be worn by men and/or women Gopakumar is addressing all people,not only those in South Asia, but people anywhere in the world where life is based on traditional values and is, quite often, made very difficult due to economic oppression and the exploitation of natural and labor resources by multinational corporations and complicit governments. It is clear that Gopakumar has been strongly influenced by conceptual art, particularly the appropriation of everyday objects as seen in the work of

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Marcel Duchamp, Tracey Emin and Joseph Kosuth.

In producing the works in this exhibition Gopakumar has used Lungi fabric and the simple media of India ink to create the physical works which viewer will encounter in Kerala. In doing so he has cleverly connected his interest in internationally and transculturally significant ideas and conceptual precedents with the actual garments and products that are a part of traditional life in India. In this the artist has provided us with a powerful means to understand that (through his art) he is speaking to all of us about our lives and how we connect with every other human being on the planet even if we are perhaps not so aware of the nature of such connectivity.

Gopakumar is asking each viewer to see this work as something that may serve as an instrument to differentiate the soul and body, but this does not apply only to those who wear the Lungi, but to of all of humankind. From The Lungi each viewer will take aware his/her own ideas about how this exhibition speaks about politics, about corporate greed, about cultural traditional and, perhaps, about how each of us is responsible for understanding who we are and what it is we stand for both now and in the future.

This is a powerful exhibition wrapped in a metaphor built from the simplest kind of garment connecting us to some very complex considerations. I complete this brief essay by asking myself Who am I? and How DO I relate to those in the world I do not know and may never meet? and, perhaps most importantly, What is my equivalent of the Lungi and how well do I understand it?

Dr. John Antoine LabadieFulbright Scholar & Artist Professor of ArtArt DepartmentUniversity of North CarolinaNorth Carolina USA

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Gopakumar R.P., Making The Lungi

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The Lungi 1

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The Lungi 2

The Lungi 3

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The Lungi 4

The Lungi 5

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The Lungi 6

The Lungi 7

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Henry Stindt M.F.A., Pratt Institute, 1967 - 1969 Painting & Graphics B.A. in Fine Arts, Penn State University, Design & Painting, 1962 -1966 Tutorial in Painting, The Slade School of Art, The University of London, London, England, 1966 Graduate Seminar in Computer Graphics, 8 S. H., Pratt Institute, summer 1984 Studio Photography, 3 S.H., School of Visual Arts, NYC, summer 1980

Starting in 1973, I was hired by East Carolina University in Greenville, North Carolina to teach in the School of Arts Communication Arts program. Due to the nature of my job description, I began to immerse myself in the art and science of photography. From that point and until very recently, I have been identified as being a photographer. I went into the commercial photography business in Atlanta, Georgia, taught photography courses, and traveled the world making and exhibiting photographic images.

However about 1991, my life changed direction. I surrendered my Atlanta photo studio and returned to my Greenville studio, which I was sharing with the artist, Dee Morris. My studio partnership evolved into collaboration which created the work of Henry Delia. It was also around that time that I met a writer, Julie Fay, who had a house in the south of France; and in 1993 she and I married and gave birth to our beautiful daughter, Zoe Fay-Stindt.

These two events became the impetus for my resuming my heartfelt and liberating work as a Zoe was about three when she first came and sat on my lap, picked up a pencil, and proceeded to help me with my drawing. This was the point in the life of my artworks where I started seeking intrusions to send my creative inquiries ricocheting into a variety of new directions.

Because of that, I now approach working on a new piece without any predetermination of its direction or resolution. I select my subject, my composition, and my media without any design or preconception. I welcome visual situations that create a problematic arena for me to explore. The final product of this intuitive adventure continues to surprise and engage me.

Once I start working, it is not long before I lose myself to the process; the piece itself seems to lead me to the resolution of its form. For example I started my work Three, Diverse Artifacts by casually placing distinctly unrelated objects on a piece of reflective board and photographing them. I used only their physical relationship to each other and the reflective surface, to guide me. Once printed on Fine Art paper, I began to reinterpret the situation with whatever media seemed appropriate for that moment. It was as if I was sensing hidden forces as keys to releasing their forms; allowing them to emerge and come alive on the papers surface.

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Alameda ClownHenry Stindt

Alameda PrincesHenry Stindt

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Alameda PrincessesHenry Stindt

El Dia Del Reyes Photographers 1Henry Stindt

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Festival of the Virgin of Guadalupe SteedsHenry Stindt

Festival of the Virgin of Guadalupe SteedsHenry Stindt

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Oaxaca SantaHenry Stindt

TitlaHenry Stindt

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More Precious Objects 2Henry StindtMixed Media

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Spin The Bottle - An Interactive Piece 3Henry StindtMixed Media

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Urban Artifact Series - Found Object and Street Spilt Paint 4Henry StindtMixed Media

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Three, Diverse Artifacts Henry StindtMixed Media

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Jyotirmoy DeJCAM: Tell us about yourself.

JD: Born and brought up in rural area at Kirnahar, near Santiniketan in Birbhum, India. I naturally got scope to have nature very close. I started exchanging emotion and making relationship with nature since childhood rather unconsciously.As I grew up in the midst of insects, birds and animals, trees and plants, rain and shine, falling of evening, moon rise, etc., these are obviously in my thought and consciousness, and nature gets reflected in my works. The student life in Viswabharati and the light and air of Baroda M.S. University have caused a radical

change in my outlook. My childhood days of the bright landscape of bushy pondway, hair styling of women drying of cloths, stitching, falling out etc, made me intermingle with nature and its profound mystery. I have observed minutely some eternal aspects of men and women in nature and thence have learnt many meanings of the intricate moments of life. Here nature is my teacher for every moment. It is ever instructing me sometimes lovingly, some times making me suffer. Thus I ever want to enjoy studentship.

Side by side with the perennial relationship between men and women and its ups and downs, due to circumstances I got compelled to change my stances and this conflict gave rise to the elements of my works. The rustic life I saw from vicinity started to break down in contrast with the urban life. I had to get acquainted with the cults of city life and its dialogues.

These naturally and spontaneously got their space into my works. Automatically enough, my eyes got accustomed to feeling the great in the trifle and vice versa. The vitality of the youth led me to love and sex.

This lent scope to discover a mysterious story of a queer world. In a word, I rediscovered myself.

I step forward to future following the means of keeping my creations simple in the professional world in parallelism with lending my works a prospective potentiality. I always make an endeavor to remain actively creative to make my works more potential, more soaring and more prospective wherefrom truth will be more prominent.

My recent works concern the Kantha stitch art which begins to gain a sea change in my creations. In my hand, this art undergoes not only thematic but also conceptual changes. The traditional kantha stitch art of rural Bengal appears to me to be a challenge and thus it is bedecked with a postmodern language. A radical change is attributed to the images contained. A bevy of women of the locality help me in stitching. I

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also engage in painting and photography there and elsewhere.

On the eve of doing any painting or stitching, I give the proposed work a prolonged thought. I try to find the images that hover about of nature. I take photography of the thought images as also others. Then I select images for painting or stitching. I work with various media needle and thread, acrylic on canvas, oil-on-canvas water colour-on-paper etc.

When I make stitching I beforehand print some images to use then as references and from those references I often draw on paper with pencil. I trace on the surface on which this is to be done. Often I print same image in black and white and trace on that. I plan for the images in accordance with the colour of the surface - white, black, grey, yellow, red, golden yellow, brown, etc. Often same direct drawing with pencil is done on clothes. An outline stitch (run-stitch) is drawn now and then. Various tones are inserted into the colours and for that purpose multi-coloured theads are used in a single needle. The drawing is broken into several parts of different colours for the sake of convenience. I use different symbolic digits for each part which only I and my helpers can understand.

The number of images increases and one image is done after another. I take six to eight months generally to complete a single whole. After the completion I do a light lined stitching on the surface commonly with the thread of the backgrounds colour. This here and there form a particular design or a telling motif. The stitches used are run stitch, dense stich, Jiri run, Chelley, abu for, cross stitch, chain stitch, double chain stitch, bokheya button stitch, hem stitch dull stitch, etc.

Before I start painting on acrylic on canvas, I give a light coating of mixed yellow and white colours on the canvas twice or thrice. Then I manually draw on canvas, imitating the photography. I put color after colour and finish a part. Then I think of other images and do these. At last I finish the detailing integrally. Thus I finish a canvas.JCAM: Where do you live now and how does that place influence you?JD: Now I live at Kirnahar. The landscape beauty of the place fascinates me.

JCAM: Do you have family, friends or fellow artists who support you in your work, life and art making and how do they make a difference in your life?

JD: Yes, My parents and some fellow artists and poet friends inspire me much and support in my works. They support me in various ways, especially psychologically.

JCAM: When and how did you start making art?JD: I started making art since my early childhood, though I did never think of taking it as a profession. In the locality, artisans would make traditional idols. I tried to imitate them and thus began my art making.

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JCAM: Can you describe the time when you first realized that creating was something you absolutely had to do?JD: My father now and then asked me to copy the paintings of others. I tried my best to get applause from him. I was more or less a failure in other works but got satisfied in the field of art. This decided that I had to be an artist.

JCAM: Why do you make art now?JD: Art is undoubtedly a great feast to my mind and emotion. Then I have taken art as a profession that would satisfy earnings. So I make art now.

JCAM: How has your work changed or developed over time?

JD: The art education I received in Viswabharati and MS University, Baroda changed the conception of art in my life. Again, the works of the contemporary artists inspired me much.

JCAM: What are you trying to communicate with your art?JD: I try to communicate through my art a dialogue between art and nature.JCAM: What kind of creative patterns, routines or rituals do you have?JD: To paint something I initially take photographs from nature and then translate one into painting, offering it an interpretation. I often use an image after reading a story.

JCAM: What element of art making do you enjoy the most and why?JD: I enjoy the narrative element of art making most because the story is related to day to day occurrence in human life.

JCAM: What new creative medium would you love to pursue?JD: I would love to pursue sculpture.

JCAM: Whats the first art work you ever sold?JD: I sold the first art entitled Nature in Tranquility in 2006.

JCAM: Do you make a living from your art?JD: Yes, I am able to earn my livelihood from art.

JCAM: What are you working on at the moment? JD: At the moment, I am doing stitch-on-cloth, painting on canvas as also photography.

JCAM: Where do you find ideas for your creative work?JD: I find ideas from reading folktales, Panchatantra, Poems and Scrutinizing nature and even from the incidents and feelings of my own life.

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JCAM: What does being creative mean to you?JD: To me, being creative means expressing myself and stretching out my imagination.

JCAM: What is the best advice you ever had about how to be more creative?

JD: The best advice I ever had about how to be more creative follows: One is oneselfs best teacher.

UntitledJyotirmoy De

Original Kantha stitch art work on cloth

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UntitledOriginal Kantha stitch

art work on cloth70 X 34

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UntitledOriginal Kantha stitch

art work on cloth72 X 34

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UntitledOriginal Kantha stitch art work on cloth

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60 X 34Jyotirmoy De


72 X 34Jyotirmoy De

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UntitledDetail Original Kantha stitch art work on cloth

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Untitled PaintingJyotirmoy De

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Untitled PaintingJyotirmoy De


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Jyotirmoy De


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55 X 34Jyotirmoy De

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Neeraj PatelEducation:M.A. in Painting, Mohan Lal Sukhadiya University, Udaipur, Rajasthan, India

JCAM: Where were you born and does that place still influence you?

NP: I born at Jodhpur, Rajasthan, India and yes this place still influence to increase my work thought process too

JCAM: where do you live now and how does that place influence you?

NP: I stay in Baroda, Gujarat now. Yes of course I would say definitely I I dealing with people who are historically situated and complex in their own views for the reason .i have my own unique perspective to see things as I wish this is first pint to start

JCAM: When and how did you start making art?

NP: At age of 18 I liked to usually paint as interest in free time of my schooling, but when I joined fine art, I seriously started to think about it and day by day trying to study this subject deeply.

JCAM: Can you describe the time when you first realized that creating you absolutely had to do?

NP: At age of 22 when I was in my bachelor degree program. In my class our teacher used to talk about some artist lives and I became very interested in painting. I decided to pursue art because of I feel more freedom to show my potential through visual art than anything else.

JCAM: Why do you make art now?

NP: I love to paint. There are a few other reasons too. First of all, it connects me with the rest of humanity. In my art I reflect on to the ideas of many others and I wonder how to record fragments of my thoughts, feeling and memories. I use my art as a way to explain through thoughts to others. I share these subjects through my paintings and installations. I also very much enjoy the process of making art works. In my work I use the processes of making to sort out my ideas.

JCAM: How was your work changed or developed over time?

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NP: In my art practice emotional energy and social status are always pushing and pulling my work in various directions. My work also depends my life surroundings where changes in my culture, people, and life style have had an impact on how I work and what I work on. Cultural movements change very quickly and this influences my art work over time. My day by day experiences allow me to grow and evolve my art as I age as well.

JCAM: What kind of creative patterns, routines or rituals do you have ?

NP: At this time I am creating texture with help of paper tape to create line sharp and different types of visual vibrations in my work. This way of working creates some type of illusion for viewer. I think this is a simple way to make more interesting visual effects in my paintings. I am also interested in pursuing a deeper understanding of the relations between the members of the community where I live. This too is part of my creative practice.

JCAM: What elements of art making do you enjoy the most and Why?

NP: In my art works normally all elements are visible and nothing can be more simple or basic to define my subject. In practice, these elements are commonly seen in combination with each other. Hence, although color and value are very different elements but both exist in combination with each other in my art works. Here I enjoy both making of process in cloth and canvas too. In my works there is a careful thought involved in the arrangement and use of the elements of design. This is the way I create more strong rhythm and movement. My work often references patterns from cloth where I attempt to balance colors and patterns together in ways that please me.

JCAM: How do you know when work is finished?

NP: I do not feel that my works are ever finished. I do not feel a painting is complete very often so many times I do not sign my work until well after I stop the process of painting. Why? My approach to painting and other methods of working has changed in the past and it will surely change later many times too.

JCAM: What are the art making tools you use now?

NP: Mostly I paint in acrylic; which is water based paint. I prefer to work as quickly as I can. I paint on canvas most often. For installations I use a different type of cloth and some of raw material for direct work such as found objects

JCAM: What new medium would you like to pursue?

NP: I would love to use more photography. JCAM: What is the art work ever sold?

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NP: I sold my first art work in 2012 at ASYAAF,Seoul ,South Korea.

JCAM: Do you make a living from your art?

NP: Yes, presently I work at free lance visual artist.

JCAM: What are your goals for the future, both for your work and life?

NP: Being a responsible visual artist means (to me) that I always try to share my original (new) ideas with viewers. This is what I want to do. I also want to share my work with a world wide. I want to gain a different perspective by traveling and working in many places around thew world. In my life art allows me to be more meditative and spiritual too. Maintaining such a balance will allow me to live a happy life too.

JCAM: What or who inspires you?

NP: I love to see abstract art most. But I like every type of art which is heart touching. The artist Anish Kapoor inspires me.

JCAM: Do you have favorite living artist ?

NP: Yes, I have a favorite artist who is really very heart touching for me as teacher and he discusses a lot with me about my practice and to improve my life style also. This artist is Ved Prakash Gupta and he is my greatest teacher.

JCAM: What work(s) of art do you wish you owned and why?

NP: Abstract art. I love to do abstract art, because of I like to explain my thoughts in very minimalistic way and in forms of abstraction.

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Untitled 1Neeraj Patel


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Untitled 1Neeraj Pate

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Ramesh Anand (Ramesh Chandra Soni)JCAM: Tell us about yourself:

RA: I was born in 1950 at Ayodhya, Uttar Pradesh, India but I was there in Ayodhya for a very short time. My family moved to Madhya Pradesh in India. In my childhood I lived at Ujjain. Ujjain is the city of temples and most of the time I spent in Ujjain. After my marriage I shifted to Dewas, a small town, where I got a government job as draftsman. In that position used to draw maps of city. In those times I learnt the fine drawings and importance of lines. These things attracted me to drawing.

This small town of Ujjain gave my life stability. Before this time I was doing some art and illustrations for newspapers. From childhood I used to see movies, sign boards. Those things interested me very much. At that time promoting movies for Indian people the advertisers often used a hand cart and would paste their movie poster on it. They would hire one man pull cart at whole city. This is not done any more. I loved to watch that cart and see those movie posters. When I was at home I used to make the posters I saw and do hand calligraphy to imitate the words. This was the time when I was first taking interest in art.

I am inspired by Nature I used to make landscapes, temples, sunset and sunrise. In my whole life I supported by my Wife and indirectly she is an inspiration as well.

JCAM: Please tell us about your art making.

RA: As Ive said, I did much different work at when I was younger than I do today. I did Figurative work, decoration work, illustrations, book cover design. These were part of my job as an artist then. To do this kind of work time passed and near 1990 I realized that I should go with abstraction, with simplicity, and with detail in drawings. Both these styles of work for me have the same subject: Nature. I choose to use both styles because I simply enjoy both. I enjoy working with colors in abstracts, and with lines in drawings. With my paintings I share my positivity, peace and happiness of life which I realized at the time of making. I gave 100% of mine to my each and every art work so I am proud on all art works. I do work not in quantity but I believe in quality. I make a maximum of 20 to 30 paintings I make In a year and a maximum 10 to 15 final drawings in a year. Each work has a different quality and uniqueness in itself.

In my drawing work I use the miniature form to explore the deepness and peace of nature. In abstraction I simplified the forms of mountains, monuments, rivers and part of a deep mountain area. I like vibrant and fresh colors. I am proud to say that I give a great transparency to my paintings. I use Acrylic and water color. In my paintings I use color pencils and layers of very thin colors. My main aim to maintain the freshness of color and transparency. Mostly I draw a triangle, symbolically it shows men, challenge and strong thoughts. But, from a normal view may appear to be a mountain. My strokes

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are flat and straight thats why I use flat brushes. For drawing I use graphic ink pen. I also use scale in my drawings.

In my painting and drawing I give importance to composition first, second the colors, and third is application. When my soul is satisfied then I stop working. There is no rule like this with my paintings. Some paintings take one to two week, and sometime 2-3 days. For a small drawing of 8x8 inches I have to give minimum 6 days. This is why drawings takes long time to complete compared to painting.

JCAM: What was the fist artwork you ever sold?

RA: I sold my first painting from a gallery of Delhi and that painting went to Canada. For many years I have job and painted when I could. I belong to a middle class family, so to survive I have to do job so I couldnt make living from my art. Sometimes paintings sold and some time I face disappointments economically, but I didnt ever leave art. Now I make art for my satisfaction and if somebody appreciates my art then I feel good.

JCAM: Tell us about how you see your future as an artist?

RA: I am very simple and quiet person. During my whole life I have struggled a lot. Now I am retired from my job and can give full time to art. For my future I am planning some solo shows. I also write poems. I will do an exhibition on my poetry. I believe in the work I am doing in the present, and hope in future I will make more good paintings and drawing. I also hope people will appreciate my life and my work.

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Scott ZieglerScott Ziegler was born in 1973 in Park Ridge, Illinois. He graduated with an MFA degree in Ceramics from Northern Illinois University in 2008, currently teaches classes at University of North Carolina at Pembroke. His work has been juried into many competitive international exhibitions in recent years, and this past year was no exception. To highlight a few exhibitions, Scotts work was selected for inclusion in the DownEast National Sculpture Exhibition, at the PCAC at Emerge in Greenville, North Carolina, featured in Looking at Ourselves at Baltimore Clayworks in Baltimore, Maryland, and selected for the Cedar Creek National Teapot Show IX invitational at Cedar Creek Gallery in Creedmoor,

North Carolina. In addition, he had just finished a solo exhibition at Yavapai College in Prescott, Arizona.

Scott was selected as an Emerging Artist by Ceramics Monthly magazine in 2006, and was a featured artist for the magazine in 2009 when his article The Pursuit of Perfection was published. Besides having been selected for publication in Ceramics Monthly and Clay Times magazines, his work was featured overseas in a Chinese book, The Appreciations and Collections of Modern and Contemporary Ceramic Art and included in 500 Figures in Clay Volume 2 published by Lark Books in 2014. This year, Scott has been featured in Glazing Techniques, a book published by The American Ceramic Society. His professional experiences also include serving as a clay mentor for the Potters Council, receiving the Kiln God Residency Award at the Watershed Center for the Ceramic Arts, and being featured as an artist for the PBS television show Broadstrokes.

Scott Zieglers Artist Statement

Through my art, I provide an introspective look into my past experiences. As a child in a dysfunctional family one rooted in alcohol addiction I experienced years of trauma, abuse, confusion, and fear. As an adult, I realized that these past experiences and memories constrained my full expression of self. I felt bound by a variety of patterns of behavior that resulted in internal struggles, destructive behavior, and limited personal growth.

I have come to realize that I have to explore the past in order to break free from its constraints. Art has been the vehicle for that exploration. When I create a piece of art, I am provided with an opportunity to reach into the dark abyss, find the light, and heal. Each piece is symbolic of the truth I discover and the healing it provides.

As people view my art, it is my hope that it will be an opportunity to do personal soul-searching regarding the issues of addiction, trauma, and recovery. It is not necessary to

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know the exact content of my memories and experiences to resonate with the truth contained in my pieces of art, because truth is universal.

JCAM: Where were you born and does that place still influence you? Where do you live now and how does that place influence you? Do you have family, friends, or fellow artists who support you in your work, life and art making and how do they make a difference in your life?

SZ: I was born in Park Ridge, Illinois, a suburb of Chicago. While my physical surroundings didnt particularly influence my work, my upbringing as a whole had a significant impact: I am an adult child of an alcoholic and my parents divorced when I was young. These continue to be recurring themes in my work.

My support system for the last twenty years has been my wife who is incredibly encouraging and influential. We have two young boys who have changed me in every way imaginable. We recently moved to an area in North Carolina with a rich tradition of ceramics, and Ill be interested to see what, if any, impact my new surroundings have on my work and my creative process.

JCAM: When and how did you start making art? Can you describe the time when you first realized that creating was something you absolutely had to do? Why do you make art now? How has your work changed or developed over time? What are you trying to communicate with your art? Of the artworks published in this article, is there one of you are which most proud? If so, why?

SZ: I began my college career as a premed student. Throughout elementary and high school, I excelled in and enjoyed art classes, so I took an art class each semester in college to ease my mind and provide a break from what was otherwise full time science. It wasnt until the fall semester of my junior year that I took my first ceramics course. I took my second ceramics course that spring, and I was hooked. At the end of my junior year, I made the interesting phone call home to explain to my family that I was no longer premed and instead was going to major in ceramics.

Looking back at my early ceramics courses, it was working with the material that really piqued my interest. With all the other art classes I had taken, Id never been given the opportunity to sculpt, manipulate, and work with a material like clay. I quickly came to realize what an incredible material I was working with and how clay could be made to look like almost any other material in the world.

As I continued to work with the material, my work became more content-based as I began to incorporate my personal experiences of addiction, trauma, and recovery. What I find particularly fascinating these days is that to me, the most interesting piece, the piece that I am most invested in, the piece that I am most proud of, is whatever piece Im currently working on. I invest an extreme amount of time, focus, and thought into each piece; however, when the piece is complete, I allow myself to let go of that work to share it in a forum where others can enjoy it and I can move on to my next idea.

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JCAM: What kind of creative patterns, routines or rituals do you have? What element of art making do you enjoy the most and why? What is your most important artist tool(s) and why? How do you know when a work is finished? What are the art making tools you use now? What new creative medium would you love to pursue?

SZ: When I begin a new series, I always begin with research and drawings. Im currently exploring the historical ideas of propaganda where ideally the best advertising is striking and methodical and delivers a direct and simple message and the effects it had on war. Im incorporating the idea of propaganda into my work by starting with three-dimensional forms that are striking and methodical and including simple two-dimensional images to express facts, thoughts, and opinions. Put simply, Im using my work to deliberately spread my message by exhibiting the ceramic pieces to further my cause.

When developing my work, I use a variety of building techniques throwing, slip-casting, and hand-building and allow the work to become bone dry. At this point, I use a variety of grades of sandpaper to smooth out imperfections. After it is completely smooth, I begin to lay in my color. Each area of color requires three to four brush coats using a variety of brushes. When all the color has been applied, Im finally able to bisque fire the piece. For the glaze firing, I determine where I want glossy surfaces and where I desire the surfaces to be matt, apply the glaze, and fire to cone 6.

As I grow older and perhaps a bit wiser Ive come to realize that Im not invincible. These days, I think twice when I am doing things for leisure because I cannot afford to injure my hands: they are the most important tool that I have when it comes to both creating ceramic work and teaching ceramics.

Ive recently started working with colleagues on applying two different existing technologies to the field of ceramics. Im exploring the practical and creative applications of both 3-D printing and the use of a CNC router, both of which have the potential to significantly change the way I work. Taking an interdisciplinary approach has been both exciting and challenging, and Im excited to see how these new processes will impact the work that I create.

JCAM: What's the first artwork you ever sold? Do you make a living from your art?

SZ: The first piece of art that I ever sold was from my BA show at Loyola University Chicago. I was awarded first place for my installation work, a collection of approximately 30 ceramic sculptural forms ranging in size from 18 inches to more than 13 feet. After the show, the installation was dismantled and pieces were sold individually. The chair of the art department was the first person to approach me.

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Ive always been interested in ceramic sculptural work, and over the years, Ive discovered this type of work is much harder to sell than functional pieces. Early on, I knew that if I was going to continue to pursue sculptural ceramics, I would need to find another way to support myself. Since I graduated from college, Ive held a number of jobs, everything from toy designer to high school teacher to ceramics professor. The majority of my time has been spent teaching, something Im incredibly grateful for. I truly enjoy teaching, but firmly believe that teaching makes me a better artist and being an active artist makes me a better teacher. To me, they go hand in hand.

JCAM: What are your goals for the future, both work-wise and life? What are you working on at the moment?

SZ: When I think about the future professionally, its important for me to continue to revisit the past to ensure Im not repeating the mistakes I grew up believing to be the norm. But this reflection has also given me the chance to see how far Ive come in my own personal exploration and I can see growth and change in my work as a result. While I continue to have many dark themes in some of my work, a new series is focusing on happiness and seeing life through the eyes of a child. It is most certainly an interesting balance.

From a personal perspective, my family remains my top priority. I strive to not only be the best parent I can be to my two little boys, but also to be present whenever Im with them. In my short time as a father, Ive already seen how quickly this time passes and I want to be sure Im there to celebrate their successes and guide them through the things that could have gone better.

JCAM: What or who inspires you? Do you have a favorite living artist? What work of art do you wish you owned and why? When addressing a particular work to be published in this interview: Can you explain what inspired this particular piece or idea?

SZ: My biggest inspiration, the person I blame for my switch from premed to ceramics, is a ceramic artist by the name of Val Cushing. Many consider Val to be one of the founding fathers of contemporary ceramics in the Unites States. In my first ceramics course, we looked at slides of both historical and contemporary work and I continued to make note of his work. His forms moved away from the traditional sense of function they danced from the foot to the rim, and I was enthralled with his pieces.

In 2006, I did a summer residency at Alfred University in Alfred, New York the very same school where Val taught for 40 years. He had retired a few years back, and although he still lived in the area, he rarely visited campus. While speaking with a classmate one morning, she pressed me on my interest in Val, and I shared my story. She mentioned she and Val were friends, said hed enjoy hearing my story, suggested I write him a letter, and committed to giving it to him the next time they were together. So I did. I wrote the letter that morning and gave it to her before lunch. When I returned from lunch, she told me she had lunch with Val and gave him my letter. He read it while

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they were together and wanted to know if I was available for dinner that night. What started out as an ordinary Tuesday turned into one of the most memorable days of my life.

From that day forward, Val became a mentor and a friend. He welcomed me into his home and treated me like family. He provided encouragement and insight both personally and professionally. He made work for my children, my wife, and me, and these are the pieces that I cherish because they have such important meaning to me. Val died November 17, 2013.

JCAM: Where do you find ideas for your creative work? What does being creative mean to you? What is the best advice you ever had about how to be more creative? SZ: To me, being creative means to always be creating. And I am. My ideas develop from everything from daily routines to diving into detailed research. Ive learned that my biggest source of frustration comes from realizing that there are not enough hours in the day to fully develop all of my ideas from concept to completion.

The best advice I ever received was given to me when I was working as a toy designer: To never accept my first idea as the gold standard, but rather to grow my ideas, continue to refine my skills, and to always exceed my own expectations with the creative process. Nearly 20 years later, those words continue to serve as my guiding principles, both as an artist and as a teacher. I regularly remind students that as soon as they create the perfect piece they need to quit making art but until then, they need to continue to create and to remain committed to striving for the perfect piece.

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Analysis Paralysis Scott Ziegler

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Analysis Paralysis Scott Ziegler

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Code RedScott Ziegler

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ContemplationScott Ziegler

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12 x 5 x 6

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Debauched MoralsScott Ziegler

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Debauched MoralsScott Ziegler

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Expiration DateScott Ziegler Porcelain20089 x 7 x 13

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OptimistScott Ziegler

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OptimistScott Ziegler

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J. Desy SchoenewiesJCAM: Tell us about yourself. What is your professional name? Where were you born and does that place still influence you? Where do you live now and how does that place influence you? Do you have family, friends, or fellow artists who support you in your work, life and art making and how do they make a difference in your life?

JDS: My given name is J. Desy Schoenewies, but I am called Desy. I was born in St. Louis, Missouri and lived almost my entire life near the Lambert-St. Louis International Airport. The fact that

airplanes were in my conscious daily life has had a profound impact on my work. Eventually, the airport took my childhood home through eminent domain, so the presence of planes as a potential threat and as a constant in my life has allowed for me to use airplane motifs in my work.

I tend to gravitate to fellow artists for companionship and close mentoring. I am the only artist in my working class family, and therefore what I do for a living is outside of general communications with my family. Therefore, at a young age I reached out to artists and teachers as my mentors and friends. Today I am friends with people from a wide range of backgrounds, from engineering and computer science to historians and writers; people from lawyers to laborers have influenced my thinking and being. In this way, I have become extremely self-sufficient to the point of being scrappy, but I always go back to those artists, teachers, and mentors for inspiration and intellectual discussion.

JCAM: When and how did you start making art? Can you describe the time when you first realized that creating was something you absolutely had to do? Why do you makeart now? How has your work changed or developed over time? What are you trying to communicate with your art? Of the artworks published in this article, is there one of you are which most proud? If so, why?

There has never been a point in my life where I did not create art. When I was a young child, I snuck crayons into my dance class. I was subsequently kicked out of dance for drawing with crayon on the large dance mirrors. For some time in middle and high school, I was interested in computers and programmin

journal of creative arts and minds, vol. 1, no. 1 – june 2015

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