Her vibrant and multi-dimensional work ranges from sculpture to animation, which she uses to craft her own ‘surreal, myth-like alternative habitats’ which both celebrate and transcend language.

You root your work in language and translation. Can you tell us a little bit about your background, and how this theme came to influence your art?

I grew up in a rather conservative middle-class family in Bavaria, Germany, in a house full of 19th-century art. My own desire to study art, however, was not an acceptable career choice so I ended up studying English and French. As a result, I had a colorful working life; I did some translation work, worked in administration and taught German and French to children who weren’t too keen.  Though language has always fascinated me, etymology, semantics, social and geographical contexts of words and phrases, the desire to create art was always inside me. When I finally made the leap it seemed to be logical to examine and to look at language in a visual way as well.

Can you describe your work for us?

With the realm of language being so multifaceted and inspiration coming from many different angles, it is difficult to describe my work in a short paragraph. I draw a lot on day to day conversations, literal translations, (anti) feminist language and I like to poke fun at political rhetoric and propaganda. I see language as multi-dimensional, therefore a lot of my work is sculptural and multi-disciplinary. Still, I don’t like to be restricted in my practice or pigeonholed in any way, and although language and translation are probably the main strands in my practice I like to stray occasionally to wherever inspiration lies…

How did the pandemic influence your art?

Working from my garden studio and studying remotely for a Master’s degree, the pandemic initially had little impact on me, despite having had several exhibitions cancelled at the last minute. As weeks turned to months, the pandemic started to hit me more emotionally as my isolation was suddenly no longer self-imposed, but something forced onto me.

With this sense of losing control, I began to work on a new body of work ‘I’m still alive’ (which then transmuted into ‘Albeit Hanging by a Thread’), in which I explored these sudden, unfamiliar emotions that resulted in such very conflicting sentiments of despair, hope, endurance and optimism in collages that became more and more surreal. There were days when I thought I was developing bi-polar tendencies; my mood was up and down like a yoyo. ‘Through the Pink Gate to Far Horizons’ is one of these works. Dreaming of a brighter future, it also incorporates some of my photography (the pink gate), symbolizing positive expectations.

Several lockdowns also resulted in new creative ways of looking for and finding materials. I began to work more with recycled materials, particularly packaging paper and items found around the house and on my dog walks.

What materials do you enjoy working with the most?

I used to call myself a painter and started my career with watercolors but my focus shifted a lot during my studies and I began to incorporate multiple disciplines and materials. A favorite material is newspaper but paper packaging, random objects, children toys, clay and paint, all have their uses. It’s very much determined by what I’m working on, the concept dictates its own materials.

I collect a lot of old magazines for the collages for example, that have become an art material in their own right. Cuttings from magazines, once taken out of context, develop an agency that in return affects the other images in quite a powerful way. It is quite fascinating watching the narrative develop, which often takes weeks; and although I tend to start with a rough idea or concept it frequently takes a different path, as the images take control and turn me into a mere facilitator!

What are you working on now?

At the moment I am focusing on my upcoming solo exhibition ‘Nomansland’ in Chester [UK] in September, which is based on a feminist language inspired utopia. Parallel to this, I’m currently working with hybrid photography, as a way of incorporating more photography in my work that seems to be gaining a lot of significance for me as I’m wrestling with some recent personal trauma.

Visit Brigitte’s website.

And if you’re wondering why ‘Make Slugs Beautiful’ – this refers to the litter of slugs on Brigitte’s countryside running route, and the nagging thought that if they were beautiful like sea slugs, they wouldn’t be so bad.

The post In the Studio with Artist Brigitte Watkinson from Make Slugs Beautiful appeared first on Artiholics.

Artiholics caught up with the artist.

You’ve been in the international news during the pandemic. Can you tell us about it? 

When lockdown started my work was due to go to the Tate for an art festival. The pandemic prevented this. Whilst at home in isolation I decided to fight back, so I began putting on impromptu exhibitions in my back garden.

Because of my disability, my teenage kids would help me install and inflate the sculptures. My neighbours started hanging out of their windows to see this exhibition appear over the garden wall, and even the local ‘bin men’ shouted over the fence that they loved the work. One of my neighbour’s young daughters, Florence, would draw me in my garden with the sculptures, which she would then post through the letterbox. This had such a huge impact on me. A little bit of magic in the bleakest time.

I then started to get interviews requests from newspapers in Germany and then TV companies arrived at my door. In lockdown, this attention had a regenerative effect on me and lifted me to create new art, in new ways. I never stopped working, as you can’t put breaks on the creative process. The attention I received seemed to boost this exponentially.

The 10ft tall, colour changing and illuminated ‘Jason and the Argonauts’ inflatable is a stunning example of your work – what’s its story? 

In 1963 the Ray Harryhausen film was released ‘Jason and the Argonauts’ and when I came along in 1969, my parents named me after this illustrious and dynamic hero. I was always intrigued by my name and where it came from. When I found out more about the story of the ‘other’ Jason and his voyage, where he set out to find the finest heroes in ancient Greece to set sail with him and reclaim the magical Golden Fleece, it fitted in well with what I was attempting to do with my art practice.

I had stopped making art just about myself and started to focus on making art about others in the disabled community, and making a conscious decision to make art with and about them.

I was attracted to the idea of replicating a great heroic voyage of discovery where I was collecting stories, which I would then reflect on and make art about.

I am very much a reluctant disability activist, although I choose to use humour and psychedelic colours to get my points across. The works I created are influenced by my working-class childhood, in Yorkshire, in the 1970s.

The surface of this sculpture is covered with the iconography of my own life and the stories which have been shared with me. It is also richly adorned by the names of all who have taken part in my work and my travels around the UK, working with deprived disabled communities.

I am not a spokesperson for these communities, I am just an artist who chooses to make these statements, to make art about those I feel some connection with.

I love the fact that this sculpture is linked so closely with my biography and with those I choose to work with also.

When people ask what my work is about I simply answer that it lies somewhere between the British children’s comic book ‘The Beano’ and the social commentary film ‘I, Daniel Blake’. Don’t be fooled by the bright colours, as the work is a trojan horse (or even a trojan sheep) in that the viewer is pulled in and then I can discuss the complex hidden stories.

And there’s an even bigger inflatable on the way?

Yes, there is a huge inflatable sculpture on the way, which will be unveiled at my solo show at 20-21 Visual Arts Centre in October. The sculpture is so big that it will allow the viewer to walk in and around it.

It shows a prone figure who is brightly coloured and highly decorated with tattoos, each with a significant meaning. I have designed it so that you will continue to find different things, regardless of how many times you view the work.

The figure represents a disabled person who is being changed on the floor, as they cannot access proper toilet facilities.

I wanted to create an accessible piece of work that told this story whilst being careful not to preach. Being angry does not work for me when making art, and I think the best approach is to get people on side by making them smile or even laugh first. It is meant to be absurd and provocative.

You use AR a lot in your work and have an iOS app, ‘Jason Residential’. Can you describe this work for us?

Most of my sculptures link to an augmented reality app, so I can animate and move the work and unlock further content, which adds to the sculptural work and is a piece of art in its own right.

Technology has democratised my art and allowed people to download my sculptures into their own living rooms or gardens. I get photos from people who have downloaded my virtual sculptures and it fills my heart with joy, especially when I was so isolated in lockdown. The technology set me free.

The ‘Residential’ app allows you not only to download my work but virtually walk around my head and see the creative process. Think of the film ‘Being John Malkovich’ but in digital form, as the app fully immerses the viewer.

Through the AR I can extend my practice by integrating my love of 1970s animation and popular culture, using the most up to date and cutting edge technology.

In lockdown, I loved the idea of the 70s movie ‘The Phantom Tollbooth’ as I wanted to escape the four walls I was trapped in because of the pandemic. I wanted to create magical portals, just like the tollbooth, through which you could see movies and animated characters who acted as strange and magical gatekeepers to this wonderful new work.

This unique approach was adopted by SHAPE Arts and developed by Hot Knife Digital Media to create the app Unfolding Shrines, giving a creative space to other disabled artists around the world. It effectively became a virtual artist AirBnB. 

What’s coming up?

I have a new sculpture being unveiled as part of the prestigious Folkestone Triennial in July and in August I am releasing my first virtual reality video game, which is going to be housed at Shire Hall Courthouse Museum in Dorset.

In September I will be taking part in a SKY Arts tv programme, but I can’t say too much about that yet, and I am unveiling two new inflatable sculptures. In October my work is going to be shown at 20-21 Visual Arts Centre in Scunthorpe. This will be so exciting as I get to unveil my largest ever sculpture.

Is there anything else you’d like to share? 

‘The Argonauts on Tour’ is showing across the UK in 2022 and is available to tour to venues internationally. If you are interested in showing the work, then please contact me at Jason@jwmartist.co.uk.

You can also see more of my work at my website www.jwmartist.co.uk and on my Instagram account wilshermills.

The post How Digital Artist Jason Wilsher-Mills is Inflating Accessible Art appeared first on Artiholics.

Welcome, Stephen! How did you find your way into the art world? Tell us about your journey.

I initially was interested in art by lots of early exposure to it. My parents took me to great museums like the National Gallery of Art and Hirshhorn Museum. My mother used to put me in a papoose-style infant carrier and I’d watch paintings perched on her back. As a kid, I drew and I made Plasticine sculptures routinely and watched my engineer father draw plans for aeronautical projects he did at the Applied Physics Laboratory. Then, after graduating from Maryland Institute College of Art in Baltimore, I moved to New York City to make art. I exhibited some work there and came to a big revelation. After experiencing the isolation of making art alone during an ice-cold NYC winter, I wanted to collaborate with other people and use myself as the medium. So, I took acting classes, did professional theater in Washington, D.C., then moved to sunny Los Angeles to act in feature films and network television. After that long, circuitous route, I found an art studio in L.A. and realized plans for dozens of artworks I had been sketching or making notes on the entire time. Now, I’m back.

You are a conceptual artist. For the uninitiated, what exactly is conceptual art? Please, tell us about your conceptual fine art practice.

The traditional definition of conceptual art supposes that the ideas an artist seeks to explore are more important than the objects or events that express them. I think about it differently. While I have developed big and little ideas, the fine art objects I make and their immediate visceral viewer experience are equally important.

My work exists to raise questions about the roles of creation, the people who author our world and those who engage them both. There is obviously a dependence of one upon the other. These relationships, like those in life and society are key to the art experience. Much of my work presents the elements that make up the intimate setting of home interiors. They often say a few things about comfort, class, lifestyle, and – most importantly – personal identity. Our perception wraps up all of the relationships in our lives, which is crowned by our identity and place within those relationships.

At the end of the day, I am an artist – conceptual or otherwise. I create. We all do, whether it’s high art on a white wall or whistling a favorite song. Sometimes, my art is generated from concise ideas that I feel need exploration or an emotional state I feel the audience might want to share, but haven’t been able to.

Your sculptural explorations express domestic dramas. What brought you to that area of interest?

I have always been interested in origin stories. How did it all start? Virtually all of our origin stories began at home with family. Sounds mundane, but it is very complex when, as a young person, you are not equipped to talk about family dynamics or drama. We unconsciously assign value to events in our home lives – good, bad, strange, amazing, disheartening, enlivening. We are, as the saying goes, “meaning making machines.” But we often pack away contorted meanings of our formative upbringing and forge ahead as adults in a rather compromised way.

I was raised in a suburban planned city called Columbia, Maryland, a place where extra care was taken to promote cooperation and understanding among those with differences in class, race, economic power, etc. It wasn’t some idealized “Walden II” town, but had its merits. I experienced family fights, fear of bullies, mysteries of the unknown, loss, love – you name it. I also developed my identity within that experience. The people who made the choice to live there and raise families also chose an aesthetic to populate their homes, whether in step with their station in life or aspirations in life. In my art, I seek to use these home interior design elements and rearrange their context to help audiences review or dispel the meanings we may attach to them.

How do you create your artworks – from conception to completion?

Ideas for new artwork arrive quickly for me. They often come to me in an early morning waking state, a time when we lose consciousness of self, but are brimming with the experience of dreams. When I wake up, I usually write down a working title or a very basic description of what the work will look like and the material it’ll be made of. For days and weeks, I will determine how to refine or simplify the idea.

Sometimes, simply working in the studio helps to generate an idea. A piece I’m currently showing in Hawaii entitled “What’s Right With This Picture?” came from testing out a router radius corner template on scrap wood. I planned to make four rounded corners on the test piece, but stopped short of the fourth corner, keeping the right angle on the lower right side. Then I filled, primed, sanded and finely sprayed it in many layers with a paint gun. It’s difficult to even call it a “picture” at all or say that it is inherently good or bad, right or wrong. It questions perception and judgment, as much art does, but provides very little to gauge or review perception and judgment with. It floats off of the wall and approaches objecthood, but it’s still largely a flat object on that wall. Is it an idea, an object seeking to break out of the idea, a pun or all of the above?

You currently have three exhibitions. Where are they? Is there one that you are enjoying more than others?

I have work right now at the Cameron Art Museum in North Carolina, in L.A. Stories at the Leo Castelli Gallery at Brenau University in Georgia and in Abstract Only! at the Wailoa Center in Hawaii. I think they are all equally interesting spaces and exhibitions. I admire many of the other artists exhibiting alongside me, like Paul Paiement, Abel Alejandre, Cherie Benner Davis and others. I do love the Cameron Art Museum, though. For part of their light-themed Illumination show, I got to do more tech-based work, which I like quite a bit.

Not only are you a conceptual artist, but also maintain a parallel career as a working professional actor on such network TV series as NCIS: Los Angeles. Did you start your acting career first? What brought you to that career?

I started as an artist, but took a long and important detour into the performing arts world. In art college, I took performance art classes with powerhouse playwrights like Ntozake Shange and learned a lot. I later took theater and on-camera acting classes. I love the idea that with my input and someone else’s input, a third unknown thing – a performance, a film, etc. – can be created. That’s phenomenal to me. I figured as an actor, I could make art of myself and contribute to someone else’s art at the same time. I also loved the idea of reaching a great number of people – of affecting a real change of perception – whether it’s in an art house feature film or an episode of Star Trek: Enterprise seen by millions of viewers.

How do you combine your fine art career with your acting career? Do you prefer one over the other?

That’s a great question. There is definitely an overlap between them, so I feel that one informs the other. The activity of making art gives me private time to review my creative motives and a place to decompress from this high velocity world we live in. My acting performance must be integrated with other performances in real time. It takes me out of my comfort zone, but is immediately satisfying. I can’t say that I prefer one over the other, but since the event of Covid-19, making art seems like the best fit.

You are L.A.-based. How do you like the city? Is it part of your inspiration?

Yes, I have been in Los Angeles for many years now, but I also maintain an art studio in Wilmington, North Carolina, so I can be close to family and get extended breaks from the big city. Los Angeles is a fascinating place with a rich history that includes wars, gold rushes, the rise of cinema, agriculture, aerospace industries, the development of suburbs – you name it. It is a city that holds high hopes and uncanny dreams for many people who move there, but tends to be seen and respected differently by indigenous Californians who have an appreciation of the land and what practical life means there.

In some ways, Los Angeles is an inspiration for my art. The sprawl that makes up Metropolitan L.A. is immense, but each distinct neighborhood – from Koreatown to Beverly Hills – can be called home for its residents. Like I said, I am interested in the artifacts that make up “home” in all of those places. The transitory world of Hollywood in particular is, of course, rife with artifice, accolades and anguish that don’t mean much outside of that insular place. Maybe it’s not even a place – but a state of mind. I’m interested in revealing some of that, too.

Where do you see yourself five years from now?

I see myself making art that really connects with audiences on a significant scale and on a regular basis. Whether it’s on highway billboards, broadcast on iPhones or seen in a venerated museum, I’m totally up for it. I see having significant commercial and institutional solo shows in the U.S., Europe and Japan – and perhaps setting up some cultural exchange programs among artists all over the world.

How has Covid-19 influenced your artwork and your acting career?

Covid-19 is a truly life-altering event for just about everyone, whether they know it or not. Many people who choose to ignore it have to face the bigger change that has come out of this moment in history – and adapt. The people who do accept it also have to adapt and figure out a way to work with those who don’t believe. Clear communication and perception, as well as true acceptance mean a lot in 2020 – and beyond. It has influenced my art. I’m more determined than ever to invite viewers to review their perception, their origins, their home and the world out there, which really isn’t that alien.

Covid-19 has slowed down my acting career, as the entire business has dropped off significantly, but I still audition for network TV. Some safe feature film productions are being made, but only a handful of major television series are being produced for the time being. Many of us are in active hibernation mode; writing new screenplays, pitching media projects and expecting this thing to turn around when scientific and medical officials say we’re ready to go!

Interestingly, even though some art shows I have had work in were postponed, others are still going strong and new ones are coming up. I’ve shown more work in 2020 than ever before. I’m sure you can agree that people truly need art. It’s healing, it’s provocative, and it has an important place in virtually all of our lives.

 www.stephenwozniakart.com

The post Meet the Los Angeles-based Conceptual Artist Stephen Wozniak appeared first on Artiholics.

Where are you from? Please introduce yourself.

My name is Margaret Zox Brown. I was born and bred in Manhattan and have lived here for basically my entire life.

When did you start painting? What kind of art do you paint?

I started painting in my late 20s. It felt like an exciting leap for me since I had been drawing for my whole life. Painting was a new and challenging medium, and I was introduced to color. I immediately was taken with color and it became (and still is) a focus within my art. I would say that my art is Representational Expressionism.

What medium do you use for your paintings?

Almost all of my paintings are oil on canvas. I have also added oil paint to Conté drawings on paper, creating mixed media pieces. Oil paint and oil painting mediums are what I love most.

How did the lockdown impact your creation and what did it mean for you going forward?

Before Covid, I was heavily immersed in painting a series of New York Characters. Because I could no longer find my subjects nor go to my Garment District studio to paint, I had to rethink everything. After doing a few colored pencil drawings and watercolors at the dining room table, I knew I just had to find a way to paint in oil again to express all that I was feeling during this unique time. I made a temporary, makeshift studio out of the studio apartment above where I live. Eventually that apartment will be joined with our living space but during the lockdown it would be sitting empty. So I made it into my studio. I started painting oil paintings that reflected, once again, my world and the emotions I felt around what I chose to highlight with my art. I also changed from titling each piece to now during this Lockdown series, dating the paintings in order to chronicle how I was feeling throughout this time. I have learned a lot about myself and my intention with my art through this Lockdown series. I realize that I have always been painting the magnificence of the quotidian and connecting with the world by sharing it. And while my world is of course smaller, it is actually so much larger because we all are going through the same thing and we all are experiencing a world of life at home. I am so happy finding beauty within the moment. I have no idea where I will be emotionally in the future, but for now, even as the world starts to open up, I can see continuing to paint what I have been painting.

Most artists’ work has a purpose or a message. What is the message of your art? What emotions and feelings do you want to convey visually in each painting?

My intention with my art is to find the true beauty in the quotidian and to share that with the world. Life most definitely has ups and downs, but I prefer to express the beauty, both aesthetically and emotionally, that I see and I know we all can share.

Tell us about the favorite work of art you created and why it is.

I have many favorite pieces because I have been painting for a very long time and have gone through many different series. Also, I always love where I am in the present the most. So to answer your question, for now I would say my favorite painting is, “April 28th – May 17th, 2020.” This is a painting that is part of my Lockdown series. It is a painting of my husband and dog, snuggling together on the couch. I feel that this painting encompasses so much emotionally and uses so many artistic elements to achieve this that it is pleasing on so many levels. It reveals a sense of love and comfort and life and warmth. All these wonderful feelings of home are brought about through: subject, perspective, color, line and form, light, paint application, layout and design.

Do you have any future projects that you would like to share with us?

I am continuing with this series and continually receiving press about it.

Whose art work do you admire? Whose artwork has impacted you? What direction do you see for the world of art?

I admire many artists for varying reasons: Gauguin for his color, Matisse for his flat picture plane, Alice Neel for her figures, Morandi for his capturing of a moment of pause, and many contemporary artists whose work and careers I follow and applaud. I see the art world definitely continuing to thrive. Everyone needs art more than ever now. It is not only a documentation of the times we are living in but it also provides culture and optimism and a sense of community. And I believe that even if viewing or experiencing art might not be in the way we all have known, the internet is the perfect place to share and discover and enjoy art.

Margaret Zox Brown’s Website

The post New York City Artist Margaret Zox Brown Creates Lockdown Paintings appeared first on Artiholics.

“The emotions are sometimes so strong that I work without knowing it. The strokes come like speech.” – Vincent van Gogh

Yes! We all feel a thousand emotions in our lives, and some of us get affected by it a bit too much, and as artists, they create a new direction in the art scene. Atom’s art has a lot to say about the same. Atom Hovhanesyan was based in New York City, a young, talented, and passionate artist truly in love with painting and drawing.

Atom’s father had seen him painting for more than 24 hours tirelessly until the last days of Atom’s life in his studio in NYC, which is also supposed to be the place where he left this world. Atom had called his style of art “Post Divisionist and Abstract”. It truly justifies his artworks. Born in Armenia, where his father Ara Hovhannisyan was an electrical engineer and his mother Gayane Davtyan was a personnel manager in an urban trade corporation and also created artworks as a hobby. Well, it was Atom’s mother from whom Atom inherited his artistic skills. It was in July 1997 when Atom’s parents along with Atom and his sister immigrated to the USA.

Atom was based in New York since the age of 16 in 1997. He was an academic learner in the field of fine art, He studied at the Art Students League, National Academy of New York and Grand Central Academy. Atom seems to be inspired by every art movement as can be distinctly seen in his art pieces. Atom’s realistic anatomy and portraits could be related to Renaissance, and his abstract works to Cubism, Impressionism, Divisionism to Post-Impressionism; Van Gogh looks like his favorite. These were the words by Atom, while he explained his medium of works, “Traditional choice of materials and medium, grind my colors. In the abstract works: my goal is to create a unified atmosphere and sense of luminosity. Bits and pieces of forms from memory are utilized as building blocks for constructing the composition.” 

Atom’s professional life was a combination of varied professions. He had also pursued economics at St. John’s University. Atom started working at the age of 16 and paying his expenses. He was also appointed as a General Manager at Prime Grill, Beverly Hills, CA, one of the most luxurious restaurants that attracted famous Hollywood celebrities. Atom worked there from 2006 to 2008 which was the only time he had spent outside New York. It was in 2009 when Atom decided to pursue his passion and love for art as a full-time artist.

It is good to know that Atom’s every artwork and writings are being well preserved and highly valued by his family, which now manages everything he left behind, which are more than 200 artworks. Atom’s father shares that Atom had gifted many of the artworks, which shows he was a kind-hearted soul. His artworks are also in private collections. Atom studied anatomy, figure drawing, portraits, and life drawings under the guidance of various mentors namely; Phil Michelson, Michael Grimaldi, Tom Torak, and Dan Thompson. Atom studied works by different artists right from Cubism, Impressionism, Divisionism to Post-Impressionism including artists like De Kooning, Kandinsky, Picasso, Seurat, and Cezanne and Van Gogh. Atom visited museums, bought the monographs of the masters, studied and combined the study of different art movements in art history including the era of Leonardo Da Vinci and Raphael to excel the human anatomy and realistic rendering style which could be seen in some of the portrait paintings made by Atom.

The decade of Atom’s artistic career had many art exhibitions. He exhibited at Pechersky Gallery, Moscow, Russia in 2014; Novomoskovsk Art Gallery, Russia 2014-2017, Annual Exhibition Art Students League of New York 2015-2016, Kunstmatrix.com online exhibition Berlin 2018, Artpal online exhibition New York 2018 and Jose Art Gallery 2018. Atom also participated in multiple private art shows in Manhattan, NY in 2016 and 2017. He was also represented In various events organized and managed by “FED” Inc. Harlem, New York City, from February to July 2019. His works were also exhibited in San Diego Expo May 2019 and Clio Art Fair Exhibition March 5-8, New York 2020. Atom’s artworks have been featured in Artist Portfolio Magazine, Issue 38, 39, 41, 42, and 43. Also featured in SPOTLIGHT ART Magazine Issue 15 and 16 along with the Important World Artists 4 Book May 2020, 4 pages in Premium Presentation.

Atom shared a good bond with his family. Atom’s mother accompanied him to museum visits and his father always insisted to support him financially. But as Atom always wanted to be independent and not to burden anyone, he resisted any financial help from his family. Atom also helped his sister Ellen Davtyan with the interior design of her house and gifted her many of his early Artworks. As we begin to talk about the roller coaster of emotions that flooded Atom’s life, it is noted that he had been through heartbreak and betrayal in both his personal life and professional life. Atom’s beloved girlfriend and many of his business colleagues had betrayed him which had broken his trust many times; he who saw the world as transparent and value being true to everyone did not see this happen with him. The time when the real world hit him hard, he had unconsciously gotten those trapped feelings into his artworks. The paintings of a woman, the dark colors of his palate, and the endless strokes say it all. One day something deep inside had given him the courage to take his own life. Maybe he was in search of a better world with the honesty which he deserved!

Atom would always be remembered for the unique style and presentation of concept as a unique artist of the current art world. The style that combines different eras, yet in harmony. Atom isn’t physically here with us today, yet his presence and energy is still alive and resides in his every art piece.

For Atom’s original artworks, artist statement and bio visit www.artbyatom.com

Email arahov62@yahoo.com (Ara Hovhannisyan, Atom’s father)

Instagram @artbyatomhov (original works updated by Atom’s parents) and @atom_hov (created by Atom)

In collaboration with Grishma Khodaria

The post Gone Too Soon, Yet Explored a New Era of Art appeared first on Artiholics.

Kai, how did you become an artist and when? Are you from a family of artists?

I’m not sure if I ever planned to become an artist. My dad is an artist and my mom is a photographer, but I think it kind of just happened. Growing up, my family moved a lot. Things weren’t always easy. We didn’t have a TV. We lived a simple lifestyle. One constant was my dad’s art books. Whenever we moved, he brought them along. So, if I wasn’t playing sports or drawing, I had my nose buried in those books. My first official piece was Morons. I created the piece to encourage my father to quit smoking. At the time, I had a real fear that this bad habit would cut his life short. The artwork resonated with him. He quit smoking and gave me a few hundred dollars for the painting. He asked me to use the money to help others the way I helped him. I did what I had learned from the books, printing posters by hand and placing them up on random walls. And, that’s how I became a street artist.

What brought the “Beaux-Art de Paris” experience? What were the best and worst moments?

My decision to attend l’École Nationale Supérieure des Beaux-Arts was driven, in part, by ego. I was at the dinner table with my family and we were discussing art. My father and I were arguing about which artist had a larger impact on the history of art as a whole. At some point, I said, “I think I know a little better than you, Papa. I’m currently at Cal-Arts.” He laughed and responded, “You’re in an art school in America. If you really want to study art, go to Paris, the art epicenter of the world.”  So, my father and I placed a little wager whether I would be able to get into Les Beaux-art de Paris. I applied and was selected as one of three American admits. I was also the only American to study there for the full year.  I loved studying in Paris. It was the hardest, but most beneficial, year of my life. I had no money. I lived in a tiny “maids-room” with no heater and not much to eat. But I’ve never learned so much. I spent all day in class and night in the classrooms, not only to learn but because the school had central heating.  I learned all the fundamentals needed to make art with my hands. It was the exact opposite and an incredible complement to what I had learned at Cal-Arts because all the theories and philosophies of art were lived and experienced as a practice.

Can you highlight five key moments in your career?

Several years ago, I traveled the world on less than $8,000 USD, creating street art just for the love of art.  Meeting Bernard Markowicz and putting together my first solo show at his gallery, Markowicz Fine Art, in Miami.  Having Le Touquet honor me and my art in their Artist Hall of Fame. Creating my Imaginary Friend (or, IF as its better known), which is the centerpiece of my current work. The final moment is not really limited to one occasion, but really, anytime I’m able to inspire or elevate someone through my art. It’s my favorite thing about being an artist.

We noticed the city of Le Touquet in France honored you in its Hall of Fame. Can you tell us how that happened and what it meant to you being so young and being recognized as a “famous” artist? As a Los Angeles artist, what was your connection with Le Touquet and its museum?

Le Touquet invited me to put street art up in their city and inducted me into their Artist Hall of Fame. I was actually able to add my handprints to their growing ring of honor. 

Why is the concrete medium so important to you? Do you see a link between your art and the ART BRUT movement?

I love working with cement. There’s something magical about taking dust, adding water, and being able to create something permanent. I’m a street artist at heart. But, the context and medium of my work is very important to me. The use of cement keeps me grounded. It’s a red thread from my early efforts to my recent works.

How did Covid-19 affect you and your art?

Covid-19 forced me to take some time for myself. It was my first substantial timeout in five years. It gave me the time to reflect and study what is happening in the art world. It gave me the opportunity to think about where I would like to go next.

What are your next steps and projects?

That’s the question, isn’t it? What’s next? I’m excited to share something new and different soon. I have several projects planned. But, inspiration strikes all the time.

So, keep your eyes and heart open!

The post From Street Art to Contemporary Art, an Unusual Path in the Market appeared first on Artiholics.

Luxury Escapism or “The Oddly Satisfying Spa” is an immersive art technology wellness experience reminiscent of a Spa with elements of theatre & Virtual Reality. Luxury Escapism – a VR Spa has been created by Tyler Pridgen. Initially I went in to do a shoot for their online advertisement campaign last year in December and that itself was a lot of fun. The space was very cool so when Tyler asked me to come on as a member I was intrigued by what that would entail for me as an actor.

What was your role?

My role in Luxury Escapism involved taking on the character of a “Spa Attendant”; working alongside an ensemble of artists to set the stage and keep the front of a Spa. We are given a script that we memorize and deliver for all the different stages like the welcoming of guests into the space, the rules they have to follow, the instructions they should look out for, etc. Doing that was more traditional in the sense of learning lines and delivering them but then the rest of it used improv so we got to play around with a bunch of different techniques.

From an actor point of view, what has been the peculiar aspect of this kind of technology that makes it different from a standard filming project?

In a set up that’s so different from what I’m used to working on, it can sometimes be quite the challenge to not break character. I had never worked on a project like this before and it allowed me to work with a whole new realm of experimental theatricality since it is on us to maintain the believability of the experience and the people coming into the space have no idea about us acting or what they are in for really. The project has been so well received and people genuinely enjoy it because it’s truly one of a kind. I highly recommend everyone to try it!

What is the most important artistic project that you have been a part of?

I think I have been lucky in my journey so far to have worked on a few projects that I consider important to me. One of these was a project I worked on last year that was part of the 48 Hour Film Festival NYC.The film was screened at The Anthology Film Archives, NY.

About your previous works, you took part in a project that was part of the 48 Hour Film Festival NYC.The film was screened at The Anthology Film Archives, NY.  What is the concept of that festival?

The concept of the festival was that we had 48 hours to create a short film after a theme, a prompt and the name of a lead character. “Joan” in our case was the character I played in what had been given to us. The film was action heavy and I hadn’t really worked on many films like before so it was cool to work with a stunt choreographer and being an observer to that process.  It was such a fascinating experience working with a team of people that came together just for this project and had not worked with each other before. Of course we had our set departments like acting, cinematography, producing etc, but it was very collaborative from the script to the directing. I think that’s also the reason that this project was influential because it gave me insight into all the things that go into making a film and I learned a bit about all the aspects. It also peaked my interest into production; I think that may be something I’m keen on going into the future!

Covid-19 and creativity. Has the pandemic changed any of your artistic plans?

I had recently been cast in an off-off broadway satirical comedy show that has actually been a long running show at the Producers Club Theatre, New York. The show called “Sketch of New York” is a hilarious representation of life in NYC. We were due to go on at end of March this year and were mid rehearsals when the lockdown began and we had to postpone the show until further notice, but the directors of the show are still in contact with us. We have had talks about zoom rehearsals to keep us in the rhythm of the show so that once we are in the clear we can pick up where we left off.

With the coronavirus it has been a collective struggle for everyone all around the world and my heart goes out to everyone who has suffered and their families. I wish everyone safety and health. These are strange times that we are living through and with the lockdown the last 2 months have been unusual to say the least.

Were you able to be involved in any artistic project during the pandemic?

I have been trying to use this time to be as creative as possible for when I am not creative that has been detrimental to my well being. I think creative engagement helps so much with keeping positivity alive at a time like this. I actually have been involved in 2-3 remote projects during the quarantine that have kept me busy and it’s been interesting to create with other artists, all of us working on our individual end at home! At the moment, I am working on a music video from home as well so I look forward to seeing how that turns out.

What is your opinion between the filming NY and LA scene? Why have you chosen NY instead of LA?

New York has been my home for the last few years now and I have really liked both living & working here. While I don’t have experience working in LA as yet, it would be a new space for me to break into. I have a familiarity with New York and there is a lot of work that is being done here with films, shows and the theatre but, that being said, I did make the move from India all the way to New York and ultimately if the situation called for me to make the move to LA I would certainly consider it.

I think I would definitely like to work projects there and learn what the “scene” is like there plus I haven’t been to LA yet so that would be a good reason to visit. I am excited to see what opportunities are ahead for me and what else is in store!

Are you a theatre cinema lover, or do you prefer series TV from the couch?

Hmm! That is a hard question to answer (laughs). I love both those things equally I think. I love balance in life, so in general I am person who enjoys both being outside and outdoors but, I also love staying in bed all day or just having a chill day at home. The same can be said about my preference with that because I truly love the experience of going to the cinema – popcorn & soda, but I am also a binge watcher who enjoys her shows.

We are living in an explosion of Netflix, Amazon Prime, and the Disney channel. Do you think that the end of Hollywood has already been decided?

I don’t think so, I wouldn’t say we’re at the end for Hollywood, no. It’s true that with Netflix, Amazon and all the other subscription services we have access to, and a platform for films, tv shows, and such which is amazing. But the experience of going to the cinema has its own very significant place so I do think there’s a big place for films in that capacity in our lives still.

Why have you decided to have a career as an actress and singer in the USA rather than India?

The reason that I made my initial move to the USA was to have the best available education in acting, that’s also why I chose New York. There is such a rich history of the arts here so I knew there was a lot for me to gain in my learning. But it was never a decision of choosing one over the other. At the end of the day I just love to act and if I felt that I had more opportunities in India I would go back, but I’ve been lucky enough to have found my footing here for now. I’m happy that work here has kept me busy and I think another added bonus has been that being in New York has given me the exposure of working with so many talented artists from around the world. It truly is a melting pot of culture and the arts in the best way possible.

The post Acting and Covid-19: A Conversation with Swarnima Singh, an Indian Actress in NYC appeared first on Artiholics.

May I ask you what name you are known by? From where do you originate? How do you describe yourself as an artist?

My name is Corie Mattie. I am also known as the LA Hope Dealer. I grew up in New Jersey – South Jersey, right outside of Philadelphia. I describe myself as an “outsider” artist. I did not go to school for art or to pursue an art career. I don’t have much contact with mainstream art or the art world. 

What kind of art do you do? What is the meaning/purpose behind your art?

My art touches mostly on humanity issues – problems we are all facing as the human race. However, I want my work to bring positivity and motivation to peoples’ individual problems as well.

How would you describe your art? How have others describe your works?

Others have described my work as a mix between stencil and pop art and I would agree. I usually use a bright color for the background (yellow) and draw images in black and white (stencil-like but mostly never stencil).

What are you doing during quarantine to stay creative?

I am using this time to express my voice and my creativity. I try to bring awareness and positivity through my work during such a negative time. I have done over ten murals in the last few months. Painting is my outlet while providing people with some sort of art remedy during a difficult and unprecedented time.

You placed dozens of yellow works across Long Beach and Los Angeles. Tell us more. How do you find the inspiration, what inspired you to start working on the project?

I originally had the “hope dealer” idea written down in my phone from a list of ideas. Once the pandemic hit and I saw how hard it was hitting humanity mentally and physically I decided to bring the character to life. My brother is a doctor – he is someone I have always looked up to and respected. He helped me with some of the concepts – so while he potentially deals with the pandemic hands on I take my art to the streets to bring awareness.  

Following this pandemic theme, did you do any murals as well?

I have done some murals not related to the pandemic. One about following your heart and taking the path less traveled and also one recently touching on the topic of racism. It’s important that I address current issues that society is dealing with so they can relate and connect with my work.

How did people react to your undertaking of this colorful yellow works all over LA?

Almost everyone has reacted positively regarding my yellow works around LA. I think the color tends to stand out and have a warming effect on viewers. It puts images in a more positive light and I think that’s what society needs right now.

Your work has been distributed all over the country. Please tell us more about your many distributions.

I didn’t want this just a Los Angeles movement. I wanted the LA Hope Dealer to be a global movement. So I decided to start shipping my pieces all over the country and now the world. I want people to feel involved and apart of something bigger than them. It allows people to express their creativity and spread a good message where I can’t right now. The more people involved the better. So far pieces have popped up in New York City, Philadelphia, Boston, Miami, New Orleans, Cleveland, Chicago, Detroit, San Francisco, Phoenix, Tucson, and now Ireland, France and Spain.

When did you create the project LA Hope Dealer and would you describe it?

The LA Hope Dealer came to fruition during this pandemic. It serves as a beacon of hope for people – a nod to keep going and be strong for ourselves as well as for humanity. 

How do you think  the current situation with the pandemic has influenced the art world in your community in LA?

I think it allows artists to express their emotions and feelings through art while connecting with viewers. We are all in the same boat facing a different storm, so artists touching on Covid-19 have an opportunity to challenge, reassure, and address how everyone is currently feeling. 

What are you currently working on?

I am currently working on pieces related to racial issues. 

One of your quotes ” After the plague came the Renaissance”, would you please tell us the meaning of that to you?

Just like during the Black Plague in the 14th century, a period of strong artistic expression is underway. Sometimes you can’t describe a situation or feeling with words, so that’s where artistic expression becomes more relatable and valued. Since this is a global issue, pandemic-related pieces are appealing to a wider range of viewers, in an unprecedented way. These pieces convey universal truths across cultures, values, age, gender, situations, etc. Artists have the chance to challenge, justify and comfort the feelings we may be experiencing, while providing clarity and reassurance during such a confusing and weird time.

https://lahopedealer.com/

The post LA HOPE DEALER: spreading Love and Hope appeared first on Artiholics.

What is Clio Art Fair? Can you please describe Clio Art Fair to me?

Clio Art Fair is a marketplace that allows independent artists to come into direct contact with insiders without the presence of any intermediary. The project was born when I was living in New York and working as an art critic, I had come into contact with many independent artists capable of producing quality works but who had difficulty finding exhibition spaces and therefore an audience of insiders; this was because we had little time or little experience to devote to our promotion. Starting from this need, we built a tailor-made fair where artists can promote themselves, and where gallery owners will not be present as exhibitors but are invited to participate as spectators.

When did you create the Clio Art Fair? And how many editions have taken place so far?AB: In our first 6 years of life, Clio had 11 editions of the fair and hosted 541 artists representing 5 continents and 35 countries.

What kind of works do you showcase at the fair?

All sorts of artworks from independent artists and collectives from all over the world. Artists have been freed up to use different materials and media and to deviate from accepted art practice definitions. Clio also hosted two special sections: I Want to Go Home, curated by Asya Rotella in March 2019, and A Nest Watching an Avalanche in March 2020.

What makes Clio Art Fair unique?

The logistics services that we are able to make available to our artists is what makes Clio unique. We can offer logistics for the shipment of the works, for installation and also for sale if requested. We have a team of art handlers and very close curators and sellers built over the years. Moreover, during the selection process, our team of curators establishes a dialogue with each artist, preparing in detail the selection and promotion on-site and online of each work.

How did Clio Art Fair grow in the past years?

During this period together, the fair grew exponentially. In the beginning, the fair started on the fifth floor of the Wolf Building on 26th Street, and by 2018, we were organizing our events on street-level storefronts  positioned in the key areas of the city.

Is there a preferred medium of art that has been successful using this method?

It is important for us to have the maximum diversity of media present, site-specific included.

Do you have any particular success stories related to the new types of dialogues that you have created (artists/collectors, artists/curators)?

From 2014 to today we have managed to create a network of returning artists, curators, and collectors. Every edition we meet new friends, people we sometimes hang out with during the year. Our fair is an opportunity for dialogue, sharing, and comparison with people from all over the world.

What are the plans for this year? And how has this pandemic impacted the fair?

Considering the current health situation, we are officially suspending our fair programming for the next 12 months.

Starting with the name chosen for our project, Clio, the muse of history, we have never hidden the Greek and Latin references of our roots. Our culture, although lovingly open to influences from all over the world, which provide for profitable and mutually enriching exchange, continues to have at its core an education that includes the texts of the Old Testament. Our spirituality is experiencing an epochal and ancestral challenge. And these new times have allowed us to dedicate ourselves to the rediscovery of texts that contributed to our education in our youth and have helped us to  rediscover an awareness of how to live in an obligatory period of repose. In biblical times, every seventh year was a “sabbath under the Mosaic law, a time during which the land was allowed to rest. Clio will enter a sabbath of sorts.

When and where will the next editions of Clio Art Fair be taking place?

We have arrived in our seventh year of activity with an awareness that we will be coming to a halt. However, we are ready to announce new developments. Clio, the Manhattan Fair for independent artists, will debut in Venice in June 2021 as a side event of the Biennale, it will then return to NY in September 2021 during the Armory Show and will debut in Los Angeles in February 2022 as a satellite event of Frieze LA. Once this period of emergency is over, we expect a period of freshness, vigor, and additional energy. We are awaiting and planning for an historical awakening.

We are ready to select the artists for our new programming period, and we invite you to submit your works. The application is free. The marketing fee will be waived if you complete the application by December 14, 2020.

With the hope of a profitable and creative sabbatical period, we respect social distancing today, but we will re-hug stronger than ever tomorrow.

https://www.clioartfair.com/

The post Clio Art Fair is Taking a Sabbatical Year appeared first on Artiholics.

Ella Dobson is a designer and animator. She strives to reach people beyond the spoken word, and to tell stories in an engaging way through design and animation. It is an art to be able to use this medium effectively.

Ms. Dobson’s work is deceptively simple. Her inspirations include Matisse, from her bold use of color and design perspective, and Saul Bass in how she unifies design, typography and animation. Her shapes are flexible so that their transitions are fluid, with intriguing flows and inventive shifts. They complement the narrative in a way that engages but is not gimmicky, making it easy to follow along with the music and narration. Ms. Dobson understands that staying true to the story is key. By not allowing the imagery to dominate or become its own showcase, the context is maintained and the message communicated.

Ms. Dobson’s award-winning work for The New York Times’ animated film “When Your Child’s Bogeyman Is Real”, explores what it’s like to be a parent today. It is an episode in The New York Times’ series Conception, produced by Margaret Cheatham Williams. 

In the episode Dobson animated, a mother, Melissa, talks about her son’s reaction to the 2018 Parkland shooting, as well as her own experience with the Virginia Tech shooting. 

‘When Your Child’s Bogeyman Is Real’ (screenshot), from The New York Times’ series Conception.

Melissa starts with her own childhood and quiet life growing up in Virginia. The simple lines of a family walking in a town with a patch of bright green grass conveys the mood of tranquility. She then speaks of her son who describes their current hometown as a place where nothing ever happens. However, this all changes with the Parkland shootings in 2018.

‘When Your Child’s Bogeyman Is Real’ (screenshot), from The New York Times’ series Conception.

The animation morphs into running figures and the overlay of red, illustrating the trauma of the horrific event. As Melissa’s voice modulates, the animation’s shimmying forms convey her emotion as she tells her story.

‘When Your Child’s Bogeyman Is Real’ (screenshot), from The New York Times’ series Conception.

She relates her own experience of the Virginia Tech massacre years earlier (2007). As Melissa and her child sit together, the red veil of danger, fear, and death persists.

‘When Your Child’s Bogeyman Is Real’ (screenshot), from The New York Times’ series Conception.

For the final sequence, the bare black and white treatment conveys the sense of alienation with elegant terror.

In contrast to such grim realities, Ms. Dobson has done work for MarketWatch in their story, ‘Why Mailchimp CEO Ben Chestnut prefers sticky notes to PowerPoints,’ and Spotify, where she helped the animation team at Hornet give Spotify’s end of year campaign some motion, ‘Your 2018 Wrapped.’ 

In the Mailchimp piece, she worked with Barron’s Group to tell the story of Mailchimp CEO and Co-founder, Ben Chestnut. The tone is decidedly upbeat, reflecting the informal charm of the CEO’s narration.

MarketWatch: ‘Why Mailchimp CEO Ben Chestnut prefers sticky notes to PowerPoints’ (screenshot).

When Mr. Chestnut speaks about his feelings regarding Asian stereotypes, her imagery effectively interprets that experience.

MarketWatch: ‘Why Mailchimp CEO Ben Chestnut prefers sticky notes to PowerPoints’ (screenshot).

Then, with wry humor, as Mr. Chestnut talks about “everyone thinking I knew Kung Fu”, Ella’s clean lines and bright palette make the animation pop, bringing focus and clarity to the story.

MarketWatch: ‘Why Mailchimp CEO Ben Chestnut prefers sticky notes to PowerPoints’ (screenshot).

The colorful imagery and playful drawings take a story that deals with business development, stereotypes, and potential discrimination and make it accessible, as it seamlessly blends with Mr. Chestnut’s open, non-confrontational account.

Ms. Dobson graduated from Auckland University of Technology in 2016 with a Bachelor of Design and has already garnered nominations and awards such as: Best Awards, Moving Image Finalist (2019); New Creators Showcase, Cannes Lions – Winner (2019); D&AD Next Animator – Winner (2019); and AI-AP’s Int’l Motion Art Awards 7 – Winner (2019). She is currently working on an animated piece with 20th Century Fox for an upcoming Netflix series. Ella Dobson’s resume is impressive. It is easy to see why. 

Though just 24, Ella Dobson has already accrued a following. With an insight into how animation can enrich experience and noting that people crave more authenticity and less fancy effects, she has carved out a niche for her work where the growth potential is limitless. You can learn more about Ella Dobson and see more of her work on her web locations: website, www.elladobson.com; and LinkedIn, www.linkedin.com/in/ella-dobson-38b577124. Her interview on NY-ARTNews provides insight regarding her technique, influences, and approach.

Written by Jennifer Vignone

The post Ella Dobson: Understanding More With Less / When Words Are Not Enough appeared first on Artiholics.

INTERVIEW! This week we talk with illustrator and animator Robert Valley who just released an amazing Indie Animated Film “Pear Cider and Cigarettes” on Vimeo. We discussed the Kickstarter back in episode 109 and in it we said that we’d love to get him on the show… fast forward 6 months TO THE DAY (that episode was released Feb 10th and this is August 10th) and here he is! We talk the impact of music, the importance of editing, animating in photoshop, superhero oversaturation, using Kickstarter, loops, black frames, creaking doors, and coughing into your mouth (it’ll make sense).

Be sure to check out Robert Valley around the internet:
Website
Vimeo
Twitter
Instagram

Preorder my book coming out in 2016:

Please Rate & Review us on iTunes

And you can now listen to us out on SoundCloud!

 
You can even listen via YouTube (soon)!

Topics & Timestamps:

Media Referenced During this Episode:

Check out more of your hosts:

Stephen Brooks
Rob Yulfo

Preorder Stephen’s Animation Tutorial Book:

And please Rate/Review us on iTunes
 Subscribe on SoundCloud 
… and Rate/Review us on Stitcher while you’re at it! (=

The post RubberOnion Interviews Robert Valley: “Pear Cider & Cigarettes” Indie Animated Film, animating in Photoshop, and the importance of editing and music – RubberOnion Animation Podcast #145 appeared first on Artiholics.

INTERVIEW! This week we talk with animator Joel Furtado who most recently created the “X-Men: Danger Room Protocols” animated series which was unceremoniously pulled from YouTube, Vimeo and other destinations due to Marvel copyright claims. We discussed that situation back in episode 109 and now we get to discuss it all with the man himself. He was very open about it and it led into very interesting discussion about fanart vs parody (which we touched on before), the technical aspects of creating CGI Pixel Animation, working in the video game industry and the state of western Canadian animation work.

Be sure to check out Joel Furtado around the internet:
Twitter
Instagram

Preorder my book coming out in 2016:

Please Rate & Review us on iTunes

And you can now listen to us out on SoundCloud!

Topics & Timestamps:

Media Referenced During this Episode:

https://www.youtube.com/watch?v=NXx0pk9EthI

https://www.youtube.com/watch?v=ZNgtIrSHack

Check out more of your hosts:

Stephen Brooks
Rob Yulfo

Preorder Stephen’s Animation Tutorial Book:

And please Rate/Review us on iTunes
 Subscribe on SoundCloud 
… and Rate/Review us on Stitcher while you’re at it! (=

The post Interview with Joel Furtado about what happened to the X-Men Danger Room Protocols fan series – RubberOnion Animation Podcast #140 appeared first on Artiholics.

Adam Phillips (@chluaid) talked with us all about creating his amazing Brackenwood series, working at Disney, Bob’s Burgers and switching from Flash to Toon Boom and his book! He opened up about some health issues, education, his views on working from home, experience with popularity on the internet and the ill-fated Kickstarter for the Dashkin game. Check out his Patreon page which is going to help him return to Brackenwood for more films!

Please Rate & Review us on iTunes

Be sure to check out Adam Phillips around the internet:
Adam’s Twitter
Adam’s Patreon
Adam’s Website
Adam’s Newgrounds

And you can now check us out on SoundCloud!

 
You can even listen via YouTube (so many ways)!

Preorder my book coming out in July 2016:

Topics & Timestamps:

Check out Adam Phillips’s films:

Check out more of your hosts:

Stephen Brooks
Rob Yulfo

Preorder Stephen’s Animation Tutorial Book:

And please Rate/Review us on iTunes
 Subscribe on SoundCloud 
… and Rate/Review us on Stitcher while you’re at it! (=

The post Interview with Adam Phillips: Brackenwood, Disney, working-from-home, and switching to Toon Boom – RubberOnion Animation Podcast #130 appeared first on Artiholics.

We got to talk to 2-time Oscar nominated director Tomm Moore of Cartoon Saloon about comics, superpowers, animation, tattoos and producing Indie Animated Films! This show has a couple of my favorite stories (Miyazaki smoke-break, TMNT desks, and The Living Shadows) and was all around just a blast of a time recording the show. There’s a lot to learn about the mentality and approach needed to get into the Indie animated filmmaking game and he gives some fun behind-the-scenes tidbits along the way.

Also, remember all those questions you posted on my facebook page?… yea he answers every single one of them! Don’t forget to check out the topics & timestamps below. Thanks for listening/supporting and enjoy the show!

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Be sure to check out Tomm Moore & Cartoon Saloon around the internet:
Tomm’s Twitter
Tomm’s Tumblr
Cartoon Saloon Twitter
Cartoon Saloon Website

And you can now check us out on SoundCloud!

 
You can even listen via YouTube… so many options!

Preorder my book coming out in July 2016:

Topics & Timestamps:

Check out Tomm Moore’s films:

Secret of Kells

Song of the Sea

Check out more of your hosts:

Stephen Brooks
Rob Yulfo

Preorder Stephen’s Animation Tutorial Book:

And please Rate/Review us on iTunes
 Subscribe on SoundCloud 
… and Rate/Review us on Stitcher while you’re at it! (=

The post Interview with Tomm Moore, Oscar nominated director of animated films “Secret of Kells” and “Song of the Sea” – RubberOnion Animation Podcast #121 appeared first on Artiholics.

Listen for “who doin’ it,” joker mask, “you can’t make 100 outta 50,” and spirit man.

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And you can now listen to us out on SoundCloud!

Topics & Timestamps:

HAPPY HALLOWEEN!!

Check out more of your hosts:

Stephen Brooks
Rob Yulfo

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The post Animators discussing their worst experiences in their Freelancing jobs and how to avoid those problems appeared first on Artiholics.

Elliot Cowan is the indie animator and filmmaker behind the new movie “The Stressful Adventures of Boxhead & Roundhead.” We got to talk to him for 2 hours about everything from trends in big-budget animated films, the current state of art schools and the double-edged sword of making a feature-length animated film virtually by yourself. You listeners submitted so many great questions too and we get to all of them! You might be surprised what he thinks about the animation process and the Pixar movies Up and Cars.

Listen for animation mumblecore, “thanks Rob, shutup,” the grumpy animator theme song, how you pronounce Cowan and why it’s that way, and indie animators as home brewers.

Please Rate & Review us on iTunes

Check out Elliot’s Website, Blog, and definitely like his film page on facebook!

And you can now check us out on SoundCloud!

Topics & Timestamps:

Media Referenced During this Episode:

“Brothers in Arms” Boxhead & Roundhead series animated short (@43:20)

The Stressful Adventures of Boxhead & Roundhead trailer

The Boxhead and Roundhead behind the scenes production diaries

“The Death of Spider-Man” for Cartoon Hangover (@1:00:57)

https://www.youtube.com/watch?v=DFTIVWFLWRE

Other videos of Elliot’s you should see:

Check out more of your hosts:

Stephen Brooks
Rob Yulfo

And please Rate/Review us on iTunes
 Subscribe on SoundCloud 
… and Rate/Review us on Stitcher while you’re at it! (=

The post Interview with Indie Animator Elliot Cowan, creator of “Boxhead & Roundhead” appeared first on Artiholics.

This week we have an interview with Chris Burns and Bob Fox of Exit 73 Studios, the creators of the hit animated short COIN and their newest short BOLTRON NINJA MASSACRE. We talk to them about their history, methods, goals, and video games (because of course)! We cover how COIN came to be, what prompted the creation of BOLTRON NINJA MASSACRE, how they work together to actually make those awesome shorts, the two-letter onomatopoeia that really tick Chris off and a TON more! We hope you enjoy this episode and are inspired by their tight teamwork and vision. Chris and Bob were great to talk to and if you stay until the end, there’s a special surprise for regulars. It’s a song. Did I spoil it?

Annotations:

 
BOLTRON NINJA MASSACRE

 
COIN

 
“Brutus the Bound”

 
“Detect-aholic”

 
Music by Bob Fox

 
Check out more of your hosts:
Stephen Brooks (@RubberOnion)
Rob Yulfo (@RobYulfo)
Pat Ryan (@TheBadPatRyan)

And please Rate/Review us on iTunes
… and Rate/Review us on Stitcher while you’re at it! (=

The post Viral animation COIN creators have a new movie – Interview with Chris Burns and Bob Fox appeared first on Artiholics.

This week we have a special interview with animator Robb Pratt (“Superman Classic,” “Flash Gordon Classic”). We talked about how and why he started the Classic series, his thoughts on Superman as a character, Flash Gordon and how he relates to Star Wars, various trials and tribulations navigating the business world of animation entertainment, his recent work on “Wabbit” (the Bugs Bunny animated shorts show) and his absolute love of story and art! Robb was very generous with his time and couldn’t have been more fun to talk to. In particular, I loved his insights into the character relation between Bugs Bunny and Superman, the analysis of the Rancor pit scene from “Return of the Jedi” and how he got that creepy voice effect in “Bizarro Classic.” Check out his YOUTUBE CHANNEL, WEBSITE and TWITTER for all things Robb Pratt!

Annotations:

 
“Superman Classic”

 
“Bizarro Classic”

 
“Flash Gordon Classic”

 
Pencil test for opening prisoner scene in “Flash Gordon Classic”

 

 
Check out more of your hosts:
Stephen Brooks (@RubberOnion)
Rob Yulfo (@RobYulfo)
Pat Ryan (@TheBadPatRyan)

And please Rate/Review us on iTunes
… and Rate/Review us on Stitcher while you’re at it! (=

The post Robb Pratt Interview – Animator behind Superman and Flash Gordon Classic talks cartoons, career and superheroes! appeared first on Artiholics.

I like to call these episodes “classic.” We’ve got news from the animation world and an interview with one of our #RubberOnionFanArt competition winners (Andrew Kaiko)! Lucasfilm surprised us with a new movie coming out in 2 months, new point-and-click game by The Neverhood creators is coming soon, and we talk a whole bunch about the PEANUTS hi-res images (this was one-day before the trailer leak!)… and we have a new segment: RAPID FIRE! Here we take the stories that you suggested which we didn’t have too much to say about and we blast through them with out little derisive or supportive comments.

Annotations:

 
Andrew Kaiko’s new series “Tidbits: With Norm & Cory”

 
“Armikrog” trailer

 
RAPID FIRE stories…

 
Check out more of your hosts:
Stephen Brooks (@RubberOnion)
Rob Yulfo (@RobYulfo)
Pat Ryan (@TheBadPatRyan)

And please Rate/Review us on iTunes
… and Rate/Review us on Stitcher while you’re at it! (=

The post New Hi-Res PEANUTS images released & point-and-click game ARMIKROG gets a trailer appeared first on Artiholics.

HAPPY HALLOWEEN!!! This week we reached out to other animators and creatives to give us their worst experiences in freelance that they could share with us like ghost stories around a campfire. Spooooooky! The idea is that if you’re thinking of getting into freelance or can relate to some of these stories, they can serve as a heads-up on what you might encounter and/or how to prevent them. See? It’s fun AND educational. I’m very proud of this episode so I hope you enjoy it and get lots of great information out of it!

Annotations:

 
Andrew Kaiko’s new series “TidBits, with Norm & Cory”

Check out more of your hosts:
Stephen Brooks (@RubberOnion)
Rob Yulfo (@RobYulfo)
Pat Ryan (@TheBadPatRyan)

And please Rate/Review us on iTunes
… and Rate/Review us on Stitcher while you’re at it! (=

The post Freelance Artists share their worst experiences to learn from on Halloween appeared first on Artiholics.