Where The Wind Blows: interview with Aron Wiesenfeld

Aron Wiesenfeld was born in 1972 in Washington, D.C.
He began drawing very early encouraged by his family till one of his friends introduced him to comics in fifth grade.
Since he was a child he has loved to build things and he still admits the depth of its interest in the process of creation: "I think my work process now is like building - the joy of it is in seeing it grow and what it will become" (Erratic Phenomena)

"The Well", oil on canvas, 71 x 93 inches, 2011

Hi Aron, imagine you could close your eyes and go back to a specific moment of your childhood, what it would be?

One day on the school yard when I was about 7, the wind was blowing so hard that I could literally fall forward into it, and the wind was holding me up. It was a magical physics-defying moment.

"Ruth", oil on canvas, 23 x 24 inches,  2008

You've been a comic book artist for a long time but then something you could not overcome happen with your last project "Deathblow and Wolverine". How did it come that you change direction from comic book artist to painter?

I had painted with oil and acrylics when I was a teenager. When I went into drawing comics when I was 20 I stopped painting because it was all pencil and paper work. After about 5 years I quit comics, and went to art school where I quickly rediscovered my initial love of painting. It was a circular road back to painting.

"The Lesson", charcoal on paper, 33 x 50 inches, 2007

"Flowerbed", oil on canvas, 27 x 35 inches, 2009

Your paintings and drawings are narratively powerful, you look at them and you see a storytelling. Who are the people that inspire you?

My complete list might go on for a thousands names. The artist that I keep going back to more than any are Caspar David Friedrich, Bruegel, Goya, Titian, Puvis de Chavannes, August Sander and Balthus.

The idea that I was a "narrative" painter was something that I resisted.
My thinking was that if I was telling stories, and painting in a traditional way, then I was doing illustration, not art. But many of the great artists from history might be called "illustrators" today, so I've decided to embrace it. Those kind of labels are useless anyway. I think a better way to categorize art is whether it is authentic or not.

"The Crown", oil on canvas, 23 x 19 inches, 2011

Are you used to plan step by step your work or are you more for the improvisation?

It's both. The sketch with is usually very rough. I proceed with a painting in a step by step manner, layering colors in a methodical way, based on some of the techniques of the old masters. I refine my thinking about what the painting is while it progresses, so my thoughts about it come into focus as the painting develops. I think the concept and the execution are inseparable.

"Chris McCandless", oil on canvas, 48 x 62 inches, 2003

Nature has a prominent relevance in your work but characters too. Do you think first about the character or the landscape while you're painting?

It depends on where the initial idea came from, each painting's origin is different. I get ideas from various places: photos, books, novels, things I see outside, etc.

There has to be a combination of things. Often I will have an image of something rattling around in my head, but it's not an "idea", just a feeling that there is potential. Then I will come across a second element, and the combination of the two make some kind of magic happen, and then it's an idea.

"Flood", oil on canvas, 24 x 24 inches, 2009

Your drawings are incredibly full of minute details and shadows. How charcoal can make you achieve this impressive results?

The charcoal drawings are very labor intensive, they often take more than the paintings. I start out with big, loose shapes, and refine them over weeks of work. I use big sheets of textured paper, which is good for holding the charcoal in place but I have to really fight with the paper to make the charcoal do what I want it to. The final stage is days of filling in small light spots with a charcoal pencil, and taking out small dark spots with a sharpened eraser. It's the only way to make smooth transitions with the kind of paper I use. That part is a pain, but the end result is a woven texture that I really like.

"Runoff", charcoal on paper, 16.5 x 14 inches, 2011

"Leigh", charcoal on paper, 15.5 x 23.5 inches, 2007

How many hours per day you spend painting?

About eight, with one or two days off a week.

"Early", oil on canvas, 12 x 10 inches, 2008

There are many recurrent elements in your work, such as tunnels, bridges, black spaces and rocks. Where do this symbolism comes from?

They showed up on their own, like stray cats. I base my paintings on my own sense that something feels important, so when it comes to symbolism, I can't say 'this means this' and 'that means that'.

When there are repeated elements in multiple paintings, it's like a recurring dream. Sometimes a tunnel is just a tunnel, but sometimes it feels like I'm channeling something, I have a sense of what it's about, but never completely. I think symbols are always like that, their meaning is very subjective.

The conscious part of the brain is not capable of making art.
Artists must devise ways of bypassing it to let deeper areas speak. For me the act of painting, the laborious trial and error, is a way of doing that.

"The Wedding Party", oil on canvas, 70 x 95 inches, 2011

You've been recently exhibited at Arcadia Gallery in New York.
What was the main subject of this solo show?

It was about bringing light into darkness. The light can reveal difficult things that have been hidden away, and free them or heal them. A flame can also represent the continuation of life in a lifeless place, and the promise that it will one day be revived.
The dormant phase of any life cycle is the most creative part, but it happens in secret, hidden under the snow and in the dark.

"Guest", oil on canvas, 15 x 18.5 inches, 2011

"Snowbed", oil on canvas, 27 x 33 inches, 2011

We're really proud of having you as one of the artists that joined THIS IS SO CONTEMPORARY. As your opinion means a lot to us, we'd like to ask you what you think about it and why you enjoy to be a part of that.

Thanks for inviting me!
I like that there's so much diversity of styles and mediums, it has helped me become aware that there's a lot of really good art being made right now. I know that you and Pedro put a lot of time and energy into THIS IS SO CONTEMPORARY, and it shows.
It's a very vital project.

Aron Wiesenfeld's Official Website

His Album on THIS IS SO CONTEMPORARY

"The Night", oil on canvas, 20 x 30 inches, 2011

A video made by Shivabel that celebrates the art of Aron Wiesenfeld
Music by Hannah Fury, 'Of Longing and Otherness'

Duilio Scalici

. Hi Duilio, where are you from?

Hi! I am from Palermo, Italy.
This is not a city of violence as TG says, i think this is one of the most beautiful city of the world!


. One reason you make art.

I simply can't - don't do it, i'd feel sick.
It' so natural to me, and many times i don't start from a concept or an idea but i start from a white sheet, and when i took the pencil, i draw lines that slowly become the final subject of the work.
The same thing is for the videoclip i make, i never write a script, i just start from a image that i have in my mind; filming this image with my camera, i continue the clip with improvisation.

L'umanità non sopporta "l'umanità", acrylic on canvas. cm 120x100
2010

. When did you start working as director?

I started about 13 y.o. making little clips in stop-motion and claymation.
My first musical videoclip was just an attempt, made with the band Troublemakers in the 2010. Then the musician The Loves contacted me because he wanted to create the original music for my first clip, "Dream Town".
After this collaboration, me and The loves made a new video "Nothing is real"; after this one i started to collaborate with many musicians like Bologna Violenta, Simona Gretchen, The Barbacans, Nut, Gli Ebrei, Chester Gorilla, ecc ecc.

Video of the song Dream Town by The Loves, 2010.

Videoclip of Nothing Is Real by The Loves, 2010.

. Tell us about your work. You're involved in so many things.

In addition to painting and making videoclip, i started a new way: producer.
With Marco Gargiulo we opened the label Sinusite Records, because i love to find and promote new musicians. I love music, this is why i make MUSICAL videoclips.

Sinusite Records Official Site: http://sinusiterecords.jimdo.com/


. You were born in 1994. Have you ever had problem in your work because of your young age?

Yes. Not big problems, but sometimes i can't partecipate to some contests because maybe people don't think that i am good when they know my young age.

Videoclip of El Grindo by Bologna Violenta, 2010.

. You're a painter also. How much is important painting for you?

As i told, this is really really important drawing and painting for me. Every time i complete a painting i feel happy, and when people buy one of my works, this separation it's hard for me!

Magnanimo, acrylic on canvans, cm 100x70 2010

. Favorite band ever.

Radiohead.

. Favorite band now.

Nut and Il Teatro degli Orrori.

. What do you think about the italian music today? I'm asking you because you're in deep contact with many bands as you direct and product music also.

I think that there is a lot of beautiful italian contemporary music but if you want to listen it, you can't wait to see and listen to them in the radio or the tv, you have to look for them, and the best way to do this is certainly the internet.
There are many bands, without any label, that should be the "flag" of italian music in the world, not people like Emma or Marco Carta..................

Videoclip of Blow Me by Chester Gorilla, 2010.

. Do you make music on your own?

Maybe.

. You've been recently engaged by EMI Records. Tell us your first impressions.

SUPER-EMOTIONED! I was really happy, at my young age is just SUPER!

A frame from the set for the EMI Music Video.

. What's the evil of the century?

The TV and the Church. They make ignorance.

. You've been criticized by many people for your video "Trapianti Giapponesi" by the italian band Bologna Violenta.
What do you want to say about it?

As someone said in a review of this video, i don't think that is a violent thing to show, when in the TV death and the worst thing are daily showned. I think instead that Trapianti Giapponesi is an ironic video.
This was the most funny video to make. Every time i see the dead penis i laugh a lot!

Videoclip of Trapianti Giapponesi by Bologna Violenta, 2010.

. You're travelling a lot these days, what are you currently working on?

I just returned from MEI because my video for The Barbacans, "Time for the Choice" was nomined between about 400 videos for the best italian videoclips.
I currently work for the EMI video, a clip for Jessica Brando.
I am also preparing a new video for Bologna Violenta and other videos for other musicians.

Videoclip of Time For Choice by The Barbacans, 2010.

. You started a collaboration with TisCo! about a month ago. What's your wish for TisCo! ?

I wish that TisCo will be also an artistic movement, because this is an initiative that i estimate so much.
Thanks for this interview!

Videoclip of Fockus by Simona Gretchen, 2010.

Duilio Official website

Duilio on facebook

Phil L'animal

Phil L'animal is a young canadian artist based in Montreal, QC.
Let's know him through his words and latest works.





. Hi Phil, why 'Phil L'animal'?

I wont tell you the true story, but I can imagine one if you want!
When I was a little boy my dream was to become a tiger, at 10 I changed for the giraffe, but I was too small to be a giraffe, so I decided to become a beautiful fish, but I couldn't breathe under water…
Finally I created a mix, a shuffle party of many animals, it gave me… The strangest animal…





. Can you remember your first illustration?

Yes, i was 12 years old. It wasn't really nice, just a stupid character… I did it with a big black pen, so all my lines were horrible! Oh! And I did my first painting at the age of 10, I received a painting kit for Christmas, I painted my first canvas on Christmas day, the concept was a mug in front of a windows, haha!


. Things that inspires you.

Extraterrestrial, lips, eyes, women, men, body, the nature, religion, you and you and YOU!





. Colors or b/w.

It depends on what I want! If I do an illustration, in general, it's gonna be b/w.
On the contrary if i'm working on a canvas it's almost all the time colored!





. What's your strength?

I guess I have a lot of creativity and I think you need that to be a good artist… It's logical! But for my work, I'm pretty good to do nice shadows especially in b/w.


. Artists - of all the time - that you admire.

Dalì of course, it was a strange character, his life is a story, when you start to read about him you can't stop, it's so intriguing!





. You're friend with Dewey Thang Nguyen
Tell us 3 things that you appreciate of his art.
Interview to Duyhttp://walkingthroughart.blogspot.com/2010/09/dewey-thang-nguyen.html


First, Duy is one of my best friend, i knew him 7 years ago and i've seen the evolution of his art. That guy is amazing!
1: He works peacefully.
2: He is so precise.
3: He put passion in everything he does.
I love him, I like to work with him and my other artist friend Olivier Bonnard, we like to create together sometime, we're from the same city and we went at the same high school too, soon everybody will know them, I'm sure!
I hope you'll know me too! haha!





. What projects are you working on right now?

I'm working now on many projects, but I don't really want tell you what it is, the only thing I can tell you it's one is about nature and the other one about sex. Other rise I did something for Le cirque du soleil as Duy, I can disclose what it is but you'll see in december!


. The best thing ever happened to you.

Discover the paint and the travels.





. The best thing that could happen to you now.

Just travel and do many exhibitions around the world!





. 3 words you love.

I'll tell you the words, but in french! Because it's not the same thing in english. Poutine, TABARNAK and giblote!

. 1 word for TisCo!

A M A Z I N G, with many ING at the end!




Phil L'animal site

Phil L'animal blog

JESSICA SIMANOWSKI

Consciousness Robber

Hi Jessie. Finally we`ve made it! People should know that my guest has been very busy the last few days with the creation of her new website which is still under construction. Tell us a bit about it.


Hello Daniela. What a pleasure to talk to you! Yes, I have been busy with creating my new website, unfortunately it is not ready yet but will go online within the coming weeks. I am very excited about it because I wanted to have a new website since quite some time now because my old website doesn`t represent me anymore. On my new website I will only show all of my new paintings but also the plush toys and accessoires that I have been doing. I am planning to expand that section with handpainted vinyl and wood toys also. The website will also have a blog section and a shop section, so that people will be able to buy directly from my website later on.


Are you promoting new artworks upon there?


Yes, actually I won`t be showing any of my old paintings there. First of all because the style that I have developed during the last few years does not really have much to do with my older paintings anymore.
I´m a real paint addict and created a lot of paintings during the last ten years. At first I was playing around with different styles and techniques, from dreamy to abstract, layered to figurative, just all kind of things, trying to find my own style. I had a lot of gallery shows and a good income. But then a few years ago I kinda locked myself away and went really deep within. I detached myself from mass-consciousness and especially the art system. Meaning that I stopped working with galleries or interacting with other artists. I wanted to be absolutly independent and detached from it all, in order to truly do the stuff that I like, without considering what a gallery or people would say about it. So I locked myself away, painted like a maniac, had very little contact to the outside world and went crazy, lol. I felt it was nessecary to do that for myself. I found myself melt all different styles and techniques that I had played with before and melt it into my very own style.
That is the reason why I won´t be showing any of my old paintings on my website. And they are all sold by now anyway.

Cool Cat

You were born in Germany but are living and working in Portugal and I read that you were traveling a lot. How did that influence your art?


I was born in Germany. After I finished college I wanted to go to the art academy in Germany but only got a seat for the next semester. So I had half a year for myself and decided to take my mountainbike, some clothes, little money and just flew to Portugal to job around during the summer. I fell in love with the country and never went back to Germany, other than for christmas to visit my family. That was in 1996. Four years later I launched my first artshow in Portugal and it was a big success. So I didn`t even consider to ever go to the art academy, which I am pretty happy about because that way I could really just be authentic in my own style.
My best friends live in the USA, so I got to travel there a few times to then travel through the States, which I always enjoyed very much. But I have a deep passion for Europe within me. I just love Europe. But yes, traveling around is always an inspiring thing to do. What influences me the most are colours, sounds and smells. Just the little things in life, for example feeling the wind on my skin. I immidiately get colours and sounds with that in my imagination. My imagination is pretty wild and highly active, just by the way. Lol.


Back to your work, it is such an explosion of colors and materials. What kind of texture do you use the most?


I work with multi layers. I usually start with painting an abstract painting. Then I step back and allow the painting to talk to me and show me what it wants to be. I just put my vision on blurry and then I usually see the figures or images within the abstract painting. Then I outline these imagies, paint around them. Then I add many more layers to it. So actually the background becomes the foreground and the foreground the background.
In the past I worked a lot with modelling paste and sand. Sometimes I still use these materials but mostly I create my paintings with acrylicpaints and oilpastels only.


"In my paintings people should see...."


.......whatever they want to see. I believe that this is the magic of art. Because art triggers the imagination of the observer, this expanded and free place within that unfortunatly most people forget to enter within their day to day lifes. I guess that is why humans love art because art connects them with their own inner source. It´s like a bumper sticker of consciousness, saying "Remember where you come from and who you truly are".
So who am I to force a certain view on the observer of my art? I want them to use their own creative and imaginative abilities.


"In my painting I see..."


...........an expression of myself in relation to the world. I guess my paintings are nice little pieces of my own inner world. Just like you would take pictures with your camera when you go and visit new places. I go within and take pictures of my own world, then smash them on canvas.

Jessie at work

Any upcoming show for you?


Nothing planned for this year. Like I said, during the last few years I totally detached myself from the art scene. But now I am ready to come out again and have some things up my pocket for next year. Nothing fully settled yet though.

Trust and Oneness

You got an online store on Etsy also. How is going your business there? Are you satisfied?


Yes, I do have a shop on Etsy. No, I am not very satisfied. I figured that Etsy would probably work better for me if I would sell only prints or cheaper things. But I am selling original paintings there. I was able to sell some originals there but it could be better. But I love the idea of Etsy and always love places where a lot of artists come together. And actually Etsy was the only "public place" where I showed any of my art during the last years.


If you could choose an artist to work with, who would it be?


Hm. Probably not an artist from the past because they were masters of their time. But that was an old time and their stuff wouldn`t rock today anymore. I think there are a lot of cool artists on this planet right now and I love to see where the art is going in general. So maybe I would want to paint with an art genius from the future. Someone who is going to rock this planet in 2050. Or maybe I just connect with my own future self and invite that part of me in to paint with me : )

fulfillment sucks

Tell us a dream on which you have been inspired on your artwork.


That is a funny question because ALL of my paintings get born in my dreams. I have this really weird thing going on. It happens in that state where I start dreaming at night, yet I am still somehow here in this reality. It´s in that inbetween zone. So every night before I fall asleep, I enter this huge gallery and it shows me hundreds of paintings that I haven`t painted yet. The same happens in the morning when I am still asleep, yet slowly enter my body and this reality again. So I usually wake up in the morning and remember all those paintings I have seen in my future gallery in my dreamstate. So I jump out of bed and start to paint :)

THE ART OF DAN MAY

Along Came Edgar

Dan, you were born and raised in the suburbs of Rochester, NY, in 1979. How was your childhood?


My childhood was fairly typical. As you noted I grew up in a suburban neighborhood outside of Rochester, NY. I enjoyed drawing/painting, saturday morning cartoons, playing with toys, and using my imagination.

Puff

You attended Syracuse University, where you received a BFA in illustration. Did you develop your characters there or did you already have them when you got there?


My creatures have always existed... I would say they've evolved along with me. During my time at Syracuse I felt like they went into hibernation. I worked on perfecting technique and got away from pulling from my imagination in favor of a more realistic illustration style. A few years after graduating I was asked to participate in a gallery show. That opportunity gave me somewhat of a creative spark and from that moment forward the evolution of my world continued at a rapid rate.

“8″ Marks the Spot

There’s a wonderful dreamlike environments element in your paintings. How do the stories come to you, and when they do, do you find you write them down, sketch them out, or simply begin painting?


I don't really sketch, or keep a sketchbook in the traditional sense. I tend to create little thumbnail sketches, which can be found all around my studio. Some of these ideas evolve into paintings and others just float around in limbo. Although it may not look like it, my process is actually fairly organic in nature. I have a hard time sticking to a sketch or an original idea. My ideas begin to evolve as soon as paint hits the canvas.

The Persuasion of Penelope

Who are the characters based on?


They are not based on anyone in particular, however, they are a representation of the human condition.

Henry’s Burden

Portrait of a Gentle Man

What’s the idea of space and time in your artwork?


My work is born of my dreams. Space and time are blurred and suspended in my artwork. I like the idea of not being able to pin down a specific time or place... it leaves much to the imagination!

The Weeping Tree

There’s a strong connection between human’s and nature’s relationships with each other, mixed with fantasy. Along Came Edgar seems to point out this message in an obvious way. Tell me about this approach.


In our world we are in somewhat of a struggle with nature. In my paintings I'm presenting a sort of reconciliation with nature... the creatures & beings in my paintings seem to be reconnecting with each other and the natural world around them. There is a great deal of discovery and new found hope within my paintings.

The Gift

The titles of your paintings are descriptive. Do they come first and serve as your muse for what you paint?


I usually begin each painting with a general idea or phrase in my mind. Once the painting is complete, I will come up with the title.

What Comes Down, Must Go Up

Your artwork has been exhibited in galleries throughout the US and abroad. Where’s going to be your next exhibition? What about Italy?


Yes, I always enjoy the opportunity to show my art in a new city. My next exhibition will be held in Chicago and then I have a big solo show in Los Angeles. I've had the pleasure of showing my work in Italy (Rome) a couple of years back... I certainly hope to have an exhibition there again at some point in the future.

Tangled Nature

Covet

What did you do before you began showing your art in galleries?


I was a full time illustrator. I worked with clients in the editorial, publishing, and advertising world.

The Hunter

You have collaborated with several publications, design firms, advertising agencies, and publishing houses. Among your clients there are names such as WIRED, St. Louis Magazine, The San Francisco Chronicle, Aspen Magazine, Village Voice Media, AOL Productions, 20th Century FOX, and VIZ Media. It seems that things are rockin’, huh? What are you working on next? More art? Collaboration?


Yes, I've certainly had the pleasure of working with some great clients. Currently I have a large collaboration in the works with artist's Nathan Spoor & Lola. I'm also in the process of working on putting out a limited edition toy. Aside from that, I'm always seeking out new and exciting projects!

The Moment Before Waking

Slow Collision

RAUDIEL SANUDO

Hi Raudiel, your taste in painting is influenced by Mexican culture. Innit?


Yes it is, Mexican culture offers endless themes and beautiful bright colors, Lucha Libre, Witchcraft, Santeria, Street vendors, Skulls, Flea markets just to name a few.


Usually you use acrylic to paint. What does it mean to you?


I like acrylics because they require little time to dry, although it is difficult to create a blending effect with them. I think I will start experimenting with oils soon.




What’s the message in your works? Is there a kind of fil rouge connected with the modern society issue?


The nature theme came while I was living in the woods of Wisconsin (U.S.A). Being there modified my paintings. While contemplating how we have managed to destroy animals and plants little by little the thought came to me "what if nature could extinguish us." Which can happen any moment with hurricanes, earthquakes; which we are seeing a lot of these days.





Tell me about Bird Lover paint and shoes that you customized for Inked Souls Show at ArtWhino Gallery ’09.


The painting/shoes are based on a native American girl who is in love with birds even though they are constantly trying to steal her earrings and necklaces to decorate their nests with. She admires their colors and how they fly, how they take care of each other.







Are you used to paint on paper? I’ve seen a picture of you painting a beautiful woman which I supposed to be your wife.


Yes she is my wife, she is my greatest inspiration and support. She is an amazing woman. I like painting on paper, I like a smooth surface. I've painted on wood but I would say paper is definitely my favorite.






What about mini pinturas series? Where do you sell them?


The mini paintings were sold at a Christmas Bazaar that took place here in Tijuana December 2008. They measured 3x3 inch aprox. My daughters were the models featured on that series.





Among your works there’s a graphic on a skateboard. Do you customize skateboards or it was just for fun?




The skateboard was for a charity event held in Los Angeles, CA. Many artist were invited to paint a deck that was later auctioned off and all proceeds went to this wonderful organization wich you can read about more here : www.stoked.org
I was told my piece was the one with the highest bid
It was an honor for me, really.








As for the previous question but not only, usually in your paintings appear characters with masks. As if they were fighters. What does the mask stands for?


Masks are a part of the Lucha Libre culture in Mexico.
On the deck painting "Mex-Games" I painted masks on the acrobat children because in life, these kids usually hide their faces with make up or different masks when working at stoplights to keep cops from recognizing them. They don't want to be taken to shelters where too often they are worse off, in these shelters they run risks of being abused by the older kids and/or the guards.
In the case of "El Guadalupano" he is a luchador (wrestler) who in the pst was a 'Cholo'. Because of all the sorrow and worries he brought upon his mother, she passes away. Now he repents and leaves behind his crimes and wicked ways, he converts and is now devoted to La Virgen de Guadalupe.





I guess your philosophy is strongly linked with the importance of nature and animals.
You paint a lot of flowers as human. And human as subjected to nature’s will.


Flowers are one of the most representative elements in nature, they are nature's most popular gift among people. All of a sudden I got the idea of a giant rose with a huge human bouquet. It was a very simple idea at first, but then my wife suggested I put a face on the rose, she said "make it look like a dream". From then on I developed the background which is based on what I could see from my painting table stationed in front of my bedroom window, combined with other elements of my imagination. It was my first detailed painting. From then on my style changed a lot, combining nature along with Mexican culture.






Is there any upcoming show for you?


I will be participating in a group show June 13th, 09. An auction will be held to benefit both artist and "SUSHI A Center for the Urban Arts" in San Diego, CA. www.sushiart.org
Also July 23-26th another group show organized by Mark Murphy (www.murphydesign.com) will be showing during the San Diego Comic Con 2009