To see these masterpieces, you can to the MoMA or the Van Gogh Museum in Amsterdam – or you can see them projected in 90 million pixels across 500,000 cubic feet of a visual experience. Immersive Van Gogh, a digital art exhibition devoted to the Dutch master, is touring around the world with numerous venues in the United States.

Following the sold-out show in Toronto, and record-breaking run in Paris (glimpses of which you can see in Netflix’s show “Emily in Paris”), “Immersive Van Gogh” opened this May at a secret location in Los Angeles.

One of the most important artists in the history of visual arts, Vincent van Gogh developed a remarkable, memorable painterly style, drawing from his long history with mental illness combined with his unique sense of the world around him. His incredible swirls of colors and attention to detail continue to dazzle audiences around the world, now culminating in the “Immersive Van Gogh” experience. The visitors are able to “step inside” Van Gogh’s masterpieces, carefully selected from his 2000+ lifetime catalog of artworks, and accompanied by light, music, movement, and imagination.

Conceived as a one-hour walkthrough exhibition, “Immersive Van Gogh” was designed by Creative Director and Italian film producer Massimiliano Siccardi, and Art Directed by Vittorio Guidotti. It contains original, mood-setting score by another Italian, multimedia composer Luca Longobardi, that accompanies the Van Gogh artwork as it comes to life before the visitors’ eyes.

Chances are you’ve probably already seen dozens of images of “Immersive Van Gogh” across your socials. The exhibition provides an environment that flawlessly caters to our obsession with social media and the ever-evolving selfie culture (remember Yayoi Kusama’s Infinity Room selfies? They were EVERYWHERE). Add to that the ongoing pandemic and our human need to socialize and be part of events, and you got yourself a blockbuster!

The “Immersive Van Gogh” experience has nineteen cities on its North American schedule, with shows already open in Chicago (until November 28, 2021) and San Francisco (until September 6, 2021). The Los Angeles iteration opens on May 27 at a yet undisclosed location “at the heart” of the city. The exhibitions will then open in New York City (June 10), Dallas (June 17), Charlotte, NC (June 18), Las Vegas (July 1), Phoenix, Minneapolis, Houston…

And speaking of the coronavirus, “Immersive Van Gogh” promises a safe space: through timed ticket admission, temperature checks upon arrival, hand sanitizer stations and social distancing markers across the exhibition hall, and of course masks, to be worn at all times.

Tickets for “Immersive Van Gogh” range in prices from $40 for off-peak time slots to $50 for peak ones. You might want to hurry: the first available time slot at the moment is in October!

Immersive Van Gogh LA Website

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My journey as an artist has been anything but linear. Although I loved the idea of a creative life, I had little going for me in that department aside from encouragement from my art teachers when I was younger. I didn’t go to art school and photography didn’t even become part of the journey until after the birth of my daughter. Feeling compelled to document her life, I bought a used camera and taught myself to use it to document this new life I’d hoped to make better than my own. I made a darkroom in my garage and spent almost every night experimenting as she slept. Finding that space to play with my artistic voice became like a drug and emboldened me to try all kinds of unlikely projects, none of which felt particularly inspiring until I was offered the chance to shoot stills for an independent film in Los Angeles. I arrived on day one with my beat up old camera and was told to find the cinematographer, who just happened to be the late and legendary John Alonzo (Chinatown). On day two he called me over to the grip truck, lent me his gear and told me to “stick close.” Thankfully, I did, and basically came away with a first-class education and a direction to head toward. I had no idea how to make a living with photography but knew then and there it was something I wanted to pursue further. 

I began to worry that I wasn’t doing my daughter any favors by dreaming, so I moved to LA to find work in photography. I managed to land a temp position answering phones at an entertainment firm in Beverly Hills. Within a few short weeks, I started filling in as photo editor, eventually taking over the position. I left four years later as director of the photo department, producing for various big name film, tv, and gaming clients, working closely with celebrity photographers and shooting many of the campaigns myself.

The culture of celebrity can be lucrative but holds little interest for me, however. I was always moonlighting on various personal projects and side hustles, shooting various nightscapes, avoiding anything with people. It was during these nightly escapades that I began to observe and appreciate the ever-changing and ephemeral nature of art of the streets. Hollywood was especially peppered with murals and graffiti, and although I was always working to omit their artwork in my photographs, my thoughts always drifted toward the person behind the work, their enduring spirit, flying in the face of traditional ideas around art, where it’s seen, and who gets to see it. I set out to photograph as many of these elusive figures as possible. 

Seven years later, Heroes & Villains (Zero+ Publishing) was published, just as my daughter was about to turn 16. I was thinking about my next project and she’d recently announced her plans to pursue a professional career in ballet. I asked if she’d be interested in sitting for a more formal portrait. Our time in the studio that day was pivotal in many ways. Having always loved dance — I had been photographing local dance artists initially for the Oregon Cultural Trust, and then for some of the dance companies directly. For me, capturing these artists out of context, not dancing, but simply being was something I wanted to explore. My daughter, with all the hopes and dreams she represented, was the perfect choice to begin that endeavor.

You resist being labeled as a photographer. How do you define yourself? 

Is it cheeky for me to say I’ve no interest in defining myself? While photography is my current medium, the idea that it defines me wouldn’t be true. I am many things. A dancer, a mother, a friend. “Photographer” seems so limiting. I guess I’d prefer to be thought of as someone who cultivates relationships with like minded collaborators? I’m interested in portraying someone as their best self. I like to strip away affectation and expected scenarios. In many ways I feel like an anthropologist who speculates on the future. I especially enjoy working with artists on the cusp.

What kind of works do you create? What do you like to photograph?

I make portraits. My approach, while on the surface may look simple and formalist, is a bit more nuanced and collaborative. I enjoy spending time within a specific genre of artists and having time to get to know someone before we work together. I like to immerse myself in a scene or a movement. I follow my interests, basically. Not in a social media way, but in a one-on-one kind of way. 

What makes one photograph stand out from another? 

That would depend on the viewer, I think. If you’re asking about my editing process, then that’s pretty simple. When I’m working with someone, there is almost always a moment where they’ve let their guard down. Those images tend to stand out for me.

What inspires you?

This is a question I find difficult to answer, mainly because it really depends on the day I’m asked. Other artists inspire me is the short answer. The long answer could lead me down a rabbit hole, but I generally like to read nonfiction. Mostly memoirs and history books. Right now I’m reading Mediocre by Ijeoma Ouelo. 

You are from the East Coast, how did you land up in Los Angeles? What do you like about LA and its art scene?

I grew up in a small town in Maryland and quickly became disenchanted with what I felt were limited prospects for my future. I did what any normal teenager does and sought out adventure, usually hopping on the train to DC or Baltimore to see bands, art exhibitions, or hang out on M Street in Georgetown. I’m close to my Aunt, who was an artist in New York, and when she moved to LA, I ventured out to spend what I expected to be a few weeks helping out. In a relatively short time, I felt surrounded by prospects, the energy and ease really meshed with my personality. LA has a reputation as a place for reinvention and possibility. For me, it continues to deliver, especially within art and culture. While sometimes seeming to dwell in the shadow of Hollywood, I believe the opposite is true. Instead, I think the scene here flies in the face of it.

What is the focus of your current practice?

Mainly two projects with the dance community: one focused on a single artist over several years, and the other, a more comprehensive overview of dance artists who come through or live in the LA area. 

How did Covid-19 impact your art?

Given that my work largely relies on human interaction in the studio and dance artists touring, the shooting component of these projects ground to a halt. Compelled by the state of things and using this as a backdrop, I dove into the archive, noticing and experimenting with themes and patterns that reflect what I feel is our collective state of mind. I also created an outdoor studio at home and collaborated with friends and family on some editorial projects. 

What are your future projects?

As a result of the experimentation with some of my existing imagery, I’ve been learning new software to integrate these stills into what I’m hoping will be something visually interesting.

Otherwise, I have some ideas but given the uncertainty around everything, I really don’t know.

Tatiana Wills’ Website

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Hi Emanuele,

You are the Prince of Venice. Please tell us about your fascinating story and your background.

It’s a very long story. I am the son and heir of Vittorio Emanuele di Savoia and only male-line grandson of Umberto II, the last King of Italy. My family unified Italy.

My great-great-great grandfather King Victor Emmanuel II became the first king of Italy and then we reigned in Italy until 1946 when the Republic came after the referendum. Since then, we were in exile in Switzerland. We couldn’t go back to Italy and I was not born in my country. In 2002 I was able to go back to Italy finally to visit my country, but my family exists since the year 1000. We are one of the oldest royal families in Europe if not in the world so from France to Switzerland to returning we were a bit all over Europe. 

What made you decide to start a food truck and now a restaurant?

Casualty. One day years ago I was at a big event in Los Angeles, and I discovered the food truck scene.

In Europe, it was not very well known so I arrived and I see all those beautiful food trucks with plenty of colors, but I wanted to eat Italian food. So I was with a friend and I was looking for an Italian food truck and I didn’t see one so I came back home and I said, okay, I’ll do one. So I wanted to do something a bit special. I decided to do fresh handmade pasta and celebrate pizza, Sicilian arancini, desserts, salads and let’s say good Italian food that I think you find here at very expensive restaurants or you don’t find them. I wanted to introduce this food to the Americans and with a very good quality and in a rather good price.

Are you planning on starting a chain of restaurants?

The idea is to go into franchises and I hope, even it’s a difficult time, to open a chain of restaurants. But if we manage to do a good business, not to lose money in this time, I think it shows that the concept is a winner concept. So I’m even more excited to open in these difficult moments and to see that people are responding very well. The restaurant from day one had success but it’s increasing and people are coming back and this is for me something wonderful. So yes the idea is to open then a chain of restaurants all over America.

What are the specialties at your restaurant?

We have very good food. Our arancini are made by a Sicilian cook. We have many food selections. What I like about my restaurant, without taking anything away from anybody else, is that when you enter my restaurant you see that the chef is from Naples, my pizza chef is from Sicily, my manager is from Venice; they all are Italian. I think you need Italian people to have an Italian restaurant. We still have the food truck, but we are holding off now because of the pandemic.

Do you think that the Italian cuisine is a form of art?

I think the Italian cuisine is our culture first of all. There are incredible cooks and chefs that are artists but my goal is to have incredible cooks more than artsy chefs that go on TV. I want people to discover the Italian taste and thus taste our culture. I want people to try the grandmother food. All grandmothers are incredible cooks.

You are a prince, the grandson of the last king of Italy, but you like to be in the front line at the restaurant and you are definitely down to Earth. What is your approach to life?

It’s difficult to describe myself, but I was always very down-to-earth and I’m like, yes, I come from a big family, have a big name, but I’m a guy that works and wants to please people and wants to be friendly with them. I never put distance between me and others or between me and people I could meet. I could meet the President of the United States or my dishwasher and I really treat them in the same way. So this is how I am made.

Prince of Venice Website

Instagram

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Hi Ann! Please introduce yourself and tell us a little about your background. How did you come to the art field?

Thank you for letting me share my art expressions and experiences. It’s been an interesting journey!

I grew up in Southern California and I have two brothers and a sister. My dad is deceased; he was a great man. My mom is very active in all aspects of life. She’s an amazing person.

I started painting after I had my gymnastics accident. I tried to do a summersault off a balance beam, I landed on my neck and pinched my spinal cord. I have a C1-C2 spinal cord injury which means I’m unable to use anything from my neck down and normal breathing is impossible. I spent nine months in the hospital learning how to adjust to my new normal way of life. It’s a life time of learning. Since I was five when I had my accident, I didn’t have any prior knowledge of art.

Thelma Steinberg, a family friend taught me how to paint. She put the paint brush in my mouth and I started painting. We started in junior high school. I had a lot to learn but I throughly enjoyed painting with Thelma.

You paint with your mouth. When did you start painting?

Yes, I do since I don’t have the ability to paint with my hands. I started painting when I was ten years old, five years after my accident.

Were you painting with your hands before or is it something that came to you after?

No, I didn’t paint with my hands before my accident. I was using my hands for every day use and to play tennis, snow & water skiing. We have an active family. 

What do you enjoy about painting?

I enjoy designing, colors, and composition. I call it ARTITUDE, I made this up for myself; it’s putting my attitude and thoughts into art and ignoring my to do list and ignoring the rest of the world while I am painting. I noticed when I didn’t block out my other responsibilities my mind was distracted and my thoughts were partially about the painting and partially about my other duties. I didn’t have my best painting days when I was doing this. This is how Artitude evolved; now my painting time is more enjoyable and I am in the moment.

I find art is healing; it’s creative, peaceful, and emotional. Art gives me a positive emotional feeling when the scene is evolving and is becoming the design that I had envisioned. This is not always the case so I do appreciate the days when all of the elements come together on the canvas.

How are you inspired?

I am inspired by the beauty of the world, the natural and man made beauty. True, not all of the world is beautiful but I am encouraged to emphasize the positive attitudes of people and cultures, animals, nature (from the tallest to the smallest forms), the oceans, lakes, and trees. I am inspired by the world around me such as the beauty in a garden, going for walks, the creativity and beauty in people’s homes. I see beauty in magazines, books, movies, colors and design in award shows, staging, beauty of the beach, the amazing colors of a sunset, the activities at the park. I love watching people laugh, talk, and interact with one another, seeing the kids play, watching the animals play with each other, the positive energy and activities in a stadium, the space shuttle is extremely exciting to me. Life is art, and when my world doesn’t make sense an abstract painting will be created.

How extensive is the role of Art in your life?

Art plays a very active role in my life. When I am designing and experiencing life, I see art everywhere and I try to capture it in my mind and I’ll take a photograph of what I see to reinforce my memory.

Who is your favorite artist?

Claude Monet. I think he uses vibrant colors and I admire his brush strokes and the movement in his paintings.

Do you have a particular genre that you prefer?

Definitely Impressionism.

How extensive is the field of artists, people who paint with alternative ways other than their hands?

I don’t know, but I do know that there are many other people such as I who paint with their mouth, as well as people who paint with their feet. Art is healing and people will do what they have to do to create a painting. It’s fascinating and impressive what people can do.

Have you ever felt discouraged or frustrated? What would you say to someone in a challenging situation?

Yes, at times I get frustrated at my situation!!! At times it’s difficult not to do something for yourself; it would be so much easier and faster to do things independently of other people. My spinal cord injury, SCI, creates problems: for example, I sit a lot and that can give me pressure sores which are difficult to heal and there’s not a lot of options to heal them. It can drive you crazy! I don’t wish what I have on my worst enemy.

For me, my mind is critical in handling every situation. I would suggest to other people to have a positive attitude and outlook on life. My motto is “inch by inch life’s a cinch, yard by yard it’s hard, and mile by mile it’s a pile.” In essence chew a little of life at a time; this reduces stress and the feeling of being overwhelmed. Try to avoid being angry; it takes a lot of negative energy which is not good for your body. Learn breathing techniques to relieve stress and anger.

Use your mind to control your emotions, attitude and thoughts. Stay positive and think positive thoughts and be involved in activities that are exciting for you. For example, be involved in writing music, poetry, a script for a play or for Netflix, make a viral video, paint, watch and write about sports and if you are able to be physically involved in sports, then play sports. It’s also good to volunteer somewhere, help other people, believe in God, be around good people, be good to other people, take good care of yourself. Keep busy!! Keep your mind thinking about the next positive step. It’s fine to be angry for a short time then let it go and move on. Be patient, use your humor to laugh and to enjoy life. Kindness matters! Be grateful for what you can do and for what you have.

Basically accept, adjust, and move forward; this is your new normal. Don’t give up and don’t give in. If need be ask for help. It might be hard but it’s fine, yet don’t cry wolf. Lastly “no” whining, screaming or complaining.

What do you think of Art therapy for people?

Art therapy is extremely important.

I know for a fact that art therapy has saved people from depression and suicide. Art gives people a purpose and a way to express their feelings. It’s even more important for people who have had an unfortunate accident or a life changing disease. For people who are in rehabilitation, art allows people to think about what and how they are going to paint instead of their situation which often brings sadness and frustration. A person’s outlook can go down fast and art can keep their mind in a positive direction.

My friend was an artist before he had a stroke after which he wasn’t able to move his right hand, his painting  hand. He was seriously depressed. Thank God he eventually learned to use his left arm to paint. It was hard for him and he missed what he had, yet he was grateful that he could paint again. He is an amazing artist.

Can you cite a specific example from your life when art was helpful? 

Yes, art lets you use your imagination. For a history class the teacher asked me to paint a person in history and to report on what I was painting. I painted Abraham Lincoln and talked about his accomplishments.

The post The Inspiring Story of the Fine Artist Ann Ruth 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.

I’ve been known to call myself a most outgoing hermit. Maybe a thought shared by other artists, I don’t know? I do love people and being around others, but I also cherish my quiet time to reflect and simply observe the world around me. I do stay informed with news and current culture and events, but am the kind of person who likes to talk first-hand in working to know what is real – the under the skin feelings, and in the heart stuff, that drives us as individuals. So yea, I like to listen as much as I like to talk and create.

Perhaps it’s an outcome of an adolescence where I never really fit into any one group. I bounced from clique to clique in wanting to find myself (I guess, a normal thing for many teens). Or maybe it was the carry forward from a 20s when I was in demand and labeled a wiz-kid artist, my eye for fashion and special effects feeding my ego in my quest for approval. Or could it be the subconscious of a somewhat emotionally suppressed upbringing? Not that there wasn’t affection or that I faced any abuse in my childhood. I had parents who took good care of me, even to the point of spoiling and supporting me in just about everything (yep, even the police raided high school parties and all). But with all dignity recognized to my parents and sisters, deep emotional or spiritual conversations where a rarity in the home of my childhood. And not putting you in the shoes of a therapist, and for the integrity of sharing what makes this creative mind tick, something inside me has pushed me to share this in defining my origins of why I am so fascinated to better understand the dynamics of human connection, and I’m guessing the reason why I got into arts in the first place.

You are an established photographer in the fashion industry and entertainment world in LA, where and when did you start your journey?

I’m the youngest child with two older sisters, one 8 years, and the other 11 years older. There was always a distance between us because of the age gap. Plus, they both left home by the time I was 13, so, in a way, I spent a big part of development years kind of like an only child in a British household (sarcasm, humor, table manners and all). My father was a dreamer and survivor, who as did my mother, lived through the blitz and mid-century anti-Semitism. Their example to me was a blend of move forward care taking, stiff upper lip thinking, and keep-it-quite intimacy. So I learned early to dream quietly, to push through whatever was in front of me, and to be independent. I know… a strange way to answer a question of how I got into fashion and entertainment, but relevant for defining what I do, how I live, what I see, and why I create.

So per that fashion thing? I don’t really consider myself a fashion photographer… probably more of a portraitist, beauty, and observational photographer (and I’m not describing myself as a fine artist for a reason. I’ll get to that in a minute). To start, I’ve always been driven by emotion, spiritual connection, and, for better or for worse, the feelings I absorb from others. Scary at its worst; a rush beyond all rushes at its best. So to talk about my journey is to expose both the blessings and phantoms that drive me in all that I do. If you had to define me in a simple phrase, you could describe me as an openhearted wall dropper– more interested in who a person is and how we relate, rather than what they do or how deep their resume is. It’s weird; I even look at inanimate objects with the same perspective.

Regarding that “I’m not a fine artist” statement, well, it just feels too constrained and limiting. A lesson I’ve learned throughout my life and career, that being, every time I try to categorize myself, I lose myself. And the result, my work becomes forced, and my imagination becomes replaced by looking at category rather than into my heart, or better yet, toward the heart of others. Most likely, (that besides my subsiding hairline); is the stuff that keeps me young and breathing. Never wanting to stop my quest for the unexpected discoveries of life and intimacy in trusting my relationship with others. An outlook that prompts me to reach into my fears and comforts to face, and own, what I intake, see and feel in every chapter of my evolution. The stuff that comes at me becoming the literal source material I harness for all that I do, and in how I communicate with those I work with.

So here’s the strange artistic dilemma, the conflict that never fails me to see and feel the world around me, and better yet, trust and own emotions within myself. As I see it, the greatest key to vulnerability with others, as well as the hangman’s noose I’m always muscling through. It’s not an easy thing to be in the moment in expressing what’s in my heart. I’ve had some pretty amazing moments with people, as well as some painfully embarrassing slip-ups. But I accept this life view with open arms, for I believe that living on the edge of open-heartedness, is where branches to honestly create can grow to their fullest. Best I can explain it. All in all, it just happens, but as I sit here thinking about it, I guess it’s all about emotional integrity (not genius, concept, bravado, or over-production), and with this acceptance, my feeling is, the purest place for art and expression to happen has to come from trusting ourselves. Like I said, not so easy a thing to do, but a discipline I am now just starting to fully realize and own. And per that journey thing, I’m not sure if it ever started for me, or will even end anywhere in the near future. It’s more like a soulful thing that is simply part of me from the inception of who I am. And in that, even when life sucks, I still feel purpose in what I see, do and create. So, I’ll simply say this, The journey is truly the present. I know, sometimes I sound like such a guru!

How do you like to work with models and other creative minds?

Most importantly, I do my best to divorce myself of all preconceptions and predictions. To realize that everyone I work with, just like I do, brings to the table more than what is first viewed on the outside; regardless of what may seem apparent. I like to be organic, spontaneous, and live by the mantra of Less-is-More. Especially when it comes to photographing a person. I think we all have hidden children dwelling within our hearts, and each of us are carrying so many joys and pains that we are dealing with; and, to be able to tap into the intimacy of a quiet moment with another person, is something that I am at a loss to fully explain. I’ve had a lot of people open up to me in the most humbling ways. So in honor of them, I feel it my responsibility to do the same.

Photography is a very powerful drug. I think that’s why it gets abused in so many ways– the “can you drop your top a little bit” stuff that really infuriates me. My role, as I see it, is to build trust and protect all those in front of my lens, in my life, or under my pen. And if I broke that rule, I know I would not sleep at night, and the integrity of my work would cease. For me, it’s all about sincerity, empathy, and honor in viewing others. Models, Creative minds, the guy at the supermarket who screamed at me, whoever; and in that, is the place I find the deepest creativity, peace to openly interact, and ability to be in the moment.

Would you please describe for us the different seasons/phases you have been involved in with your photography? Where do you see the evolution of photography progressing towards?

Boy, you do ask the probing questions. I’m going to take a second to look at this from an external perspective. Promise I’ll get back to the direct answer, just feels a little less self-serving, and maybe a better way to get to the truest answer. I get the opportunity to talk to a lot of artists, students, and creators, in that, 35 plus years of countless conversations and dealing with a vast set of perspectives, lifestyles, and personalities. The full range of what can be expected within the artistic community. From the kind and fulfilled to the lost, depressed, angry, and disenchanted. So when I share my perspectives, know that they are a mix of my own personal observations of other artists grounded by my quest to find my place as a human and creator. I’ve been rich and in demand, I’ve also been homeless and forgotten. Weathered through a lifetime of swinging doors in navigating my own set of personal, economic, social, political, cultural, and professional challenges. Each phase affecting me in all areas of who I am, how I feel about myself, and my dreams of where I am going. Being a creator is a fragile thing, we live in an A plus B never equals C, or anywhere near the same outcome vocation. Add that to the pressures put on us by our own fulfilled and unfulfilled dreams, the opinions and prejudices put on us by the critiques and attitudes of others, and it becomes easy to find ourselves wandering in the weeds. Yep, I’m one of those philosophical guys. The talker and presenter, but still, the social hermit I trust to keep me centered. But here is the silver lining of it all. A consideration brought to my attention by a stranger I once photographed and interviewed on a Los Angeles street. A clinical psychologist, she asked, “how much of what you do you consider therapy?” I’ll leave it at that. If you are truly a creator, you know exactly what I’m saying. So there it is, Again, back to my earlier thoughts regarding the journey. For me, the season is never-ending, and in looking back, all the feelings and knowledge of what I’ve personally been through are all equal subtexts to all that I create now. Per the future, well, that’s an organic thing that only time will prove what will come to be.

You are currently expanding your art to the new horizons of fine art. Would you please tell us more about this expansion?

First, thank you for calling my work art. Some don’t view the photographic process quite that way. And please know how thankful I am for all the commercial projects I have been, and continue to be, commissioned to produce. Also, gratitude to the creative minds, and friendships, who have trusted me with their vision, reputation, and livelihood. But the rawness and vulnerability to create wholly personal works is a truly remarkable therapy that is beyond assignment, storyboard, or layout. And now pushing into my 50s I have so much emotional history to pull from. A gift and responsibility to care for after having spent a lifetime honing the creative skillset I’ve evolved. So in this opportunity of fine art, I have walked into a rebirth of sorts. A release to put my rubber to the road in listening away from all expectations; the ones of my own making, and those programmed into my head based on the compliments and rejections that come my way. And being a glutton for self-growth and a good old emotional shake-up, expanding into the world of fine art is a natural progression for me. I’ve dabbled with it over time, but never with an honest effort. But something about now feels so not forced. And to be the creator I’m claiming to be, to ignore the promptings of my deeper self would be a sin against my evolution. It’s an exposed and financially risky place to be. Yet in the challenge, I have to admit this is probably the purest and most honest heart-set I’ve felt in a long time, and in looking back, I can now clearly see, why I had to wait until this point in my life to start this journey toward what I hope will be a valuable and meaningful chapter.

You are creating a new series of work, called HEAL. Can you share with us what inspired this new series of work and what you hope to accomplish with your message to the world?

I’ve always been inspired by music, something I can see when I relax my mind and close my eyes. I know, sounds so cliché. But it’s a real thing for me, and in opening up in this interview, a part of my psyche I feel compelled to expose. It’s a bizarre thing that happens in my head, it’s not like feeling the rhythm, beat, or cadence of a musical piece, it’s a visual experience. At its fullest leaving me dream like control to create, view, and move dimensional pictures in my head. And per the music itself, I’ve even awoken at night with fully composed symphonic orchestrations building in my head, but without the musical skills, they are trapped there. So with this reveal, can I put the question so many ask on the table? If you could do it again, what would you do? For me, knowing what I know now, I might have studied musical composition. Perhaps I’d be a composer or conductor now. But, no regrets here, love where I am and what I do. OK, onward to “HEAL.”

It started very vicariously as being a father to an emerging and very disciplined ballet dancer; I’ve been graced to meet some amazing artists. And in this experience, I’ve fallen in love with the movement, emotional depth, physicality and musicality of traditional and contemporary ballet. A trust that is allowing me to connect my emotional self and musicality in a profoundly sensory, emotional, and spiritual way, and the deeper I push into letting go to the project, the more organic and personal the project is becoming.

HEAL is a double meaning title, one part reference to the physicality of dance and reference to foot position, but more passionately, the emotional implications of the title. For it is, that in all of us are hidden, unexpressed or dreamed for feelings, and yes, even reason for healing. And who better to emote the fullest depth of human emotion and relationship than a dancer, who in a most touching way, can own and emote a feeling from head to toe. My hope is, that as more-and-more take the time to look into the frozen frames of the Heal photos, that they may too reflect on what they see in that photo. Perhaps better yet, to relate to what they feel from that photo, and from there, to reflect on how they treat themselves as well as those around them. As the title suggests: to HEAL whatever is in need of forgiveness, to accept the reality we are all dealing with a unique set of inner joys and pains, and to be released to our own calmness by knowing that not one of us is alone in dealing with our feelings and relationships.

And as per what the most amazing choreographer, dancer, and my good friend, Shamika Jones suggested as she helped me conceive the project, “There is grace in that.”

What do you like about photography?

A still frame, if not overly manipulated, is about as honest as artwork can become, especially in regard to capturing a human portrait. There is no cover-up for misplaced technique. No secondary chance to replay a moment. And in the telling of emotion and form, there is nothing like the pureness of an honestly captured photograph, and the larger that photograph is reproduced, the deeper it can be examined. The harder it is to make it lie. But that’s just the final destination. What’s most captivating is the process of making that photo. Now, I’ve directed film, produced, and photographed large commercial productions. Told a ton of stories through both still and moving picture. Processes and adrenaline rushes for sure, but again, to create a meaningful still frame is an experience like no other. For me, as you might presume from what I’ve shared so far, the emotional and spiritual part of photography is the drive for why I create. The self-growth and listening to others all a big part of why I make pictures, and admittedly, a selfish therapy. An important corner stone to the person I am, the human I want to be, and my link to a medium that has, and continues to, guide me to openly and deeply look at the world and people around me.

Who is your audience for your photography?

OK, here you go, and perhaps a welcome surprise. A short answer, I don’t know. Like I’ve framed, I’m a work in progress.

Black and white photography vs color photography. Do you have a preference? And if so, which one and why? And what does the choice depend upon?

Without a doubt, for portraiture, Black and White all the way. It does not lie and if done right, captures the purest of emotion and expression. I do like color for drama, and for some of the still life work I’m doing. A little saturated color does a lot to deepen the depth and texture and history of an object (Yes, inanimate things have a connection to someone too. Hey, I can say that. After all, I’m a weirdo artist).

You must be thinking of some future projects. Could you describe them to us? Will these projects involve more fine art photography?

I’m one of those people who has a mind that never stops moving. The guy who writes into the early morning hours, or wakes up at 2 am to take a photo of a plastic gas can. Yes, the dude who can drive his family nuts with what if’s, and did you see that’s. Give me a Styrofoam cup, and I’ll turn it at different angles, look at it in different light, and then make a claim that the cup has a unique history and story to tell. I know, super nutty, huh? But that’s just me. Take it or leave it, and luckily enough for me, I have friends and a family that let me live in this world that I see. Per those future projects, whatever they look like, my guess is, most likely they will be centered around opening conversations which get us all to consider what might be in the hearts and minds of one another, or ideas that push us to examine ourselves, or at it’s least, to make some sort of statement per the impact we as humans have upon each other as well as the world we share. Stuff like my “Dreams” project, where I film people telling about the dreams they have in their sleep, or the photographs of “Rubbish” and “In•an•i•mate åbjekts” that tell of our human footprint and our impact on the planet. Even the documentaries I’m directing and producing focus on what is, “Under The Hood” in each of us.

You host a podcast called Sidewalk Ghosts. What is it about?

Got to say, I love you tons for asking about Sidewalk Ghosts. It’s more than a podcast, it is an effort of purpose that has reshaped my life for the better. And my most sincere hope is that it will do the same for all who the project touches. Bottom line, in 2011 I challenged myself, regardless of where I was, or how I felt, to interview and photograph a stranger every day for 365 consecutive days. Not one day missed as I blogged an essay and the photographs for the world to read and see. Three months in it caught fire as WordPress featured it as one of the top ten daily blogs to follow, and as comments and subscribers from around the globe flowed in, I fell in love with the world. Now, almost a decade later, 100s more interviews behind me, a book written, a non-profit formed, a speaking outreach and podcast growing, Sidewalk Ghosts has become a mission I hope will touch the hearts and minds of many. A community-forming advocacy based on three fundamental principles:

1, “There is an extraordinary story living within each of us.”

2, “If we seek to truly see each other and grow our connections from a place of sincerity, empathy, and acknowledgment of others; what we create, and the impact we leave, will have long-lasting reach and effect.”

3, “Every moment of every day… your individual impact truly does matter to someone else in the world.”

Now as I approach the 10th anniversary of this journey, I find myself grounded as an ambassador to what I feel a very timely and much needed message. One that, as an artist and human, has helped me to be more committed to recognizing what I have to contribute through and beyond my medium. The payoff (if I have to look for one), my life and work are becoming even more balanced and purpose-based. An awakening I have to consider when I think about just how far the works I am leaving behind will reach (ie, fine art, film works, books, articles, posts, speaking, podcasts, and outreach).

Leaving behind? I know, sounds morbid and maybe a bit self-aggrandizing. But in trusting you, here is my motivation. I’m not on a quest for fame or on a downward spiral toward my deathbed. I’ve got a lot of good years to go and am in my creative prime. So to the world, I pledge, “my friends, you’ll see no razor to my ear.” But here is the thing I wish to share with my artistic allies. A notion I wished I grabbed onto in my 20’s (but even then, I was doing all I knew with what I knew). And not standing on the guru’s soapbox, I’m humbling myself to be as vulnerable as I can in this written interview. So, I stand exposed (OK, I hear a snicker from the back of the room in that statement). On a course to do all I can to be true to the artistic, healed, and damaged voice within myself. My integrity on the line as I set an example to my family, and the sobering mirror to do my best to stand with credibility in all that I do and say; and knowing there are only two unavoidable obstacles, those being, taxes, and death, that when I meet my maker, I wish to be as close as I can to debt-free. And in that, to know, that I did my best to honor the gifts of art that I was given; and if lucky enough, to know I have forwarded the same to you. Pass it on at www.sidewalkghosts.com

www.richardradstone.com

The post Into the Mind and Heart of Photographer and Artist Richard Radstone – A Most Outgoing and Gregarious Hermit 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.