Issue 6 Artist Spotlight | Kristine Narvida
C+B: Tell us about yourself, Kristine!
KN: I am a mother of four children. My everyday life has a cyclical subordinate rhythm, in which domestic concerns alternate with my professionalism. Handing a glass of water to my daughter, I can record how gently the daylight surrounds the figure and in a certain frame allows me to see a composition in the oil painting material. Nature, the surrounding can be a great source of inspiration. I mostly do everything myself, that's the way I work. My painting is very physically present, it belongs to a person. Illusions are always destroyed in the process of work. They accumulate and press on self-esteem, where self-expression becomes a fundamental source of inspiration. It is not necessary in personal life, because it is possible to enjoy what life "throws" at you.
C+B: How has your relationship with your work changed since you first started creating?
KN: My relationship with work has not changed significantly as my professionalism and technical skills have grown. Sometimes I get the feeling that the created work lives its own life, independent of me, and I let it happen without tormenting the created image. Respect for the material and trust in it is what allows me to express myself, to speak about what I want to say.
C+B: What has your experience been like receiving feedback or criticism of your work?
KN: I take into account who the speaker is, how important that person is to me. The words of people dear to me can empower me, direct my discoveries, raise questions. Usually I find inspiration in the answers to those questions.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
KN: I grew up in the traditions of the Latvian gray school of painting, and I am happy to continue it. Such Latvian artists as Vilhelms Purvītis, Imants Vecozols, Boriss Bērziņš are my teachers, authors, whose technical skills and understanding have shaped my language of expression.
Find and support Kristine here:
IG: @narvida_art
Website: narvida.com
(The Study of Annoyance 5, 30cm x 40cm, oil on linen, ©Kristine Narvida)
My ideal creative retreat would be: Being alone at the Baltic Sea in winter.
One word that describes my most recent work is: Remembering
A quote that inspires me is: There is no such single quote. Genius appeals to me, which is so natural, as if there were no other options. I am drawn to the agility, directness and precision of thought that can be found in the work of many authors, both today and in the past.
My hope for those viewing my work: I hope that my work is a key to the personal space of the observer, it is the place where he meets himself. Self-discovery is what I see from the viewer.
Issue 6 Writer Spotlight | Dylan James
C+B: Tell us about yourself, Dylan!
DJ: I work full-time at one of the largest dog shelters in the Midwestern United States. I love my job, and I love meeting so many unique, incredible four-legged friends—marketing them and finding them forever homes all the while. When not working with the pups, you can find me writing or reading or hanging out with my dog, Bo. Writing and reading and animals make me the happiest. I'm endlessly grateful for my career and for my second career: writing.
C+B: How has your relationship with your work changed since you first started creating?
DJ: When I was younger, I fell into the pitfall of overthinking a lot when creating. Now creating is meditative to me, unconscious even. I enter a flow state and just write. I can't tell you how much success I've found in doing this, and how personally rewarding this process has been. Writing is a peaceful happening in my life. It's something I look forward to every day.
C+B: What has your experience been like receiving feedback or criticism of your work?
DJ: I openly welcome feedback and criticism. I think doing so is the only path that an individual can take to self-improve, or to certainly reach new heights in the world of writing and publishing. I want to hear everything and use this insight—ponder it, filter it, apply it—to become the best writer I can become.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
DJ: Currently, I'm really into the paintings of Chaïm Soutine! Man, if you haven't checked out his work, I recommend giving it all a look. Soutine's work is so original, and it possesses this palpable, strange energy that blisters right off of the canvas. I admire the originality in his work, and how he painted whatever what he wanted to paint. He even did a few still lifes of dead ray fish. They're bizarre and beautiful and gosh I love them. I find so much inspiration in people who do things their own way. Soutine left our world a long time ago, but his innovative spirit is something I really appreciate.
Find and support Dylan here:
Dylan James
My ideal creative retreat would be: My ideal creative retreat: a remote cabin, snow falling outside, and candles spread about the cabin dimly lighting the place up as the darkness of the night is thick. Generally anywhere cold and dark...hahaha!
One word that describes my most recent work is: Snowballing!
A quote that inspires me is: "No longer shall I paint interiors with men reading and women knitting. I will paint living people who breathe and feel and suffer and love.” My favorite painter, Edvard Munch, said this. I admire Munch so much because he strived to capture the soul of people in his work, by expressing emotion both uplifting and dark. In so many ways, artists are actively pursuing connection with their viewers or readers or listeners. Munch did this as good as anyone ever has in my humble opinion.
My hope for those viewing my work: I hope my readers take away positivity, even through the darker subject matter in my work. If my readers can do this, I feel like a million bucks.
Issue 6 Artist Spotlight | Kamryn Shawron
C+B: Tell us about yourself, Kamryn!
KS: Currently I am a full time freelance artist but only because things kind of shook out that way. I had given it a try a few years ago and now I find myself back in this role after the little boy I nannied for began school full time. Making is something that has always been a part of my life, but it's something I really refocused on post-pandemic. Being furloughed for months from my full time job gave me the time to re-enter the art world at my own leisure post-graduation. I found myself so grateful for the time I was creating like a mad man - fearful I'd not have that kind of free time again.
C+B: How has your relationship with your work changed since you first started creating?
KS: It's really evolved like any relationship, the mediums used, themes approached. I feel like lately I'm really finding my footing in my medium of choice (bead embroidery), and I love continuing to explore that with any and all of the kooky ideas that come to mind.
C+B: What has your experience been like receiving feedback or criticism of your work?
KS: I don't think I've received a real critique since college! But honestly I love asking my partner what he thinks of a piece or what should be different. That outside perspective is crucial when being so close to a project/theme.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
KS: There are so many! When I get tired of my own work I look for inspiration in others. I adore the work of Laura Shull and Jessica Locklar, their work should be friends I think! Very soft, feminine and dreamy. Just recently found Joanna Paige, and I think she's wonderful as well . Nathaniel Thompson is a tremendous photographer and excellent at capturing nostalgia. I think I'm drawn to the work of people that help me explore different facets of myself.
Find and support Kamryn here:
IG: @kamrynleelu
Website: kamrynshawron.com
(LG Try don't Cry, 60’’ x 60’’ x 2’’, mixed media, ©Kamryn Shawron)
My ideal creative retreat would be: A cabin immersed in nature, maybe close to running water of some sort. Quiet but not too remote and I just make and paint and bead into the wee hours of the morning. Undisturbed with the textures of the world around me to draw inspiration from.
One word that describes my most recent work is: HUGE
A quote that inspires me is: I can't find who exactly said it but it was something like, “How do you know when a work is finished? At some point you just stop.”
I think the closest equivalent might be this quote by Paul Gardner: "A painting is never finished - it just stops in interesting places."
My hope for those viewing my work: Ultimately, I always hope that even those who don't call themselves creative can immediately recognize the surface change and applied texture. Even if they don't recognize the technique or materials. But really I love hearing all the different feelings and emotions my work evokes. The connections people make to it based on their own experiences. Art is personal and I like for mine to be open to interpretation.
Issue 6 Artist Spotlight | Seth Ellison
C+B: Tell us about yourself, Seth!
SE: Since completing my MFA in 2012, I essentially disappeared from the scene for roughly a decade. Some have coined it as the '10 years of silence' — a period during which I withdrew into seclusion to discover what my art was all about. During that period, I married, became a father, and stumbled into professional writing, which remarkably enriched my artistic journey by enabling me to work from home and remain in close proximity to my studio. While in school, I crafted trendy minimalist light sculptures. However, it was during my post-graduation extended period of seclusion that I unearthed a deep affection for painting and my native West Virginia, which now serves as a wellspring of inspiration for my art.
C+B: How has your relationship with your work changed since you first started creating?
SE: It never stops changing. Painting is the best game I've ever played, and this is partially because of the near-infinite amount of moves that can be made in between a square. In an instant, everything can unravel, or it can be elevated in beauty and meaning.
C+B: What has your experience been like receiving feedback or criticism of your work?
SE: Some galleries have shown reservations when it comes to certain socio-political symbolism in my work. This may be due to the negative connotations associated with the South's history – which is somewhat understandable. One gallery even went as far as to say, 'We don't need another Dana Schutz moment.' However, it's crucial to understand that the messaging in my work stems from my own lived experiences. Over time, I've grown more acutely aware of the profound impact that specific symbols can carry and how their mere depiction is sufficient to allude to the troubled history of a place's past transgressions.
With that said, I welcome a range of opinions, both positive and negative. Just as you wouldn't have the desire to jump into a pool or engage in a snowball fight if the temperature remained a constant 72 degrees, criticism is a vital aspect of artistic growth, and it should be received with grace. It's important, however, to keep in mind that art, by its very nature, is subjective. I've received numerous pieces of advice regarding what I 'should' do, but I view this feedback as an exploration of what I 'could' do. Ultimately, the decisions made in your studio are your own, and you hold the roles of judge, jury, and executioner.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
SE: While my artistic style differs significantly from his, I've always held a profound admiration for Cy Twombly. In fact, '50 Days at Iliam,' which is housed at the Philadelphia Museum of Art, stands out as perhaps my favorite series of his work. The shapes and forms within his paintings seem to operate on their own unique plane of physics. A green blob can effortlessly shift between states of liquid, solid, gas, and the metaphysical. Twombly undertook a formidable challenge in making the inexplicable his subject, and even today, his works continue to provoke immediate controversy with their seemingly audacious nature.
Find and support Seth here:
IG: @sethellison101
Website: sethellison.com
(Summoning of the Bee Keepers, 74’’ x 56’’, oil on canvas, ©Seth Ellison)
My ideal creative retreat would be: A large, empty, secluded warehouse-sized underground bunker with great lighting and supplies delivered daily. Oh, and a foldout chair.
One word that describes my most recent work is: Delirious
A quote that inspires me is: Philip Guston once said, "When you're in the studio painting, there are a lot of people in there with you - your teachers, friends, painters from history, critics... and one by one if you're really painting, they walk out. And if you're really painting YOU walk out."
Honestly, every time I read that quote my heart drops because it lays bare a deeply hidden truth about being an artist. It gives the game away and it's shocking for me to see it, akin to God exposing his face. Only Guston, a man who mixed his blood with titanium white, who wasn’t afraid to journey to the edge, could come back with that.
My hope for those viewing my work: I hope that people take away a piece of me and it becomes a part of them.
Issue 6 Artist Spotlight | Nina Seidel
C+B: Tell us about yourself, Nina!
NS: Besides my work as a visual artist, I run an art magazine for emerging artists, Suboart Magazine. I founded it in December 2020 and it’s available in print and online. It’s both my day job and a passion project, especially the print edition. I’ve always had such a big love for paper and do think it’s important to keep print alive in our digital world.
As for what inspires me, the short answer is women. I grew up as the youngest in my family and have been surrounded by strong, independent, elder women who have been a role model for me since my childhood days. When I feel rather hopeless with the world, it’s also women I turn to. I love Toni Morrison and Zadie Smith and listen to interviews with them whenever I need a breath of fresh air and inspiration. The longer answer to what inspires me is light, colours, a sunny day, art, nature, the sea. A book you can just get lost in.
In my pastime, I practice Ashtanga Yoga, go to the beach if the weather allows it, or have a drink with friends. I love Martini, ramen and ice cream. Most of the time, I’m creating something, though. It’s my work now but has been my pastime forever, and that will most likely never change, independently of how my career as an artist evolves.
Something people may not know about me is what a messy person I am and what a professional procrastinator. It can literally take me weeks or even months to make a doctor’s appointment or to go to the shop to buy green paint.
C+B: How has your relationship with your work changed since you first started creating?
NS: It’s funny that you ask because I’ve been thinking about this recently. My relationship with my work has changed, of course, like everything changes when you’re 33 and not 10 anymore. But then again, not so much, and I somehow really like that. I started out creating things with paper when I was a child and afterwards, as a teenager, went on to paint abstract canvases with plain, vibrant colours. During university and the years following, I explored different techniques and themes, and even though I really enjoyed that, I’m sort of back to where I started from.
Things that did change is that I can judge my own work more quickly now and usually know, and am not afraid to admit, when a piece is just not as good as I wish it would be. At university I also learned the importance of a conceptual foundation rather than just explaining a work with “that’s my art, that’s just what I’m doing.” But apart from that, my relationship is the same to when I was a child and teenager. My works have always surrounded me and are somewhat an extension of myself. I’ve never treated them like something special, a bit like you would never treat your hand or feet like something special.
C+B: What has your experience been like receiving feedback or criticism of your work?
NS: My experience with receiving feedback and criticism has been good so far. I loved hearing my peers’ opinions at university and always enjoyed speaking about everybody’s work. I think that especially when you work on something for a long time, another person’s opinion can really be a breath of fresh air and make you see things you’re not able to notice yourself.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
NS: That is a very hard question that I don't think I'm able to answer. I tend to like almost everything but hardly anything ever blows my mind. However, when I read the question, the first person that came to my mind was Louise Nevelson. I’m not sure what draws me to her work but I guess that’s part of the magic, that you can’t really name it.
Find and support Nina here:
IG: @n.i.n.a.s.e.i.d.e.l
Website: ninaseidel.art
(Memories Dissolving I, 21cm x 29.7cm, mixed media on Garzapapel with natural edges, ©Nina Seidel)
My ideal creative retreat would be: Now that is a very interesting question that I’ve absolutely never thought about, so thanks for asking! My ideal creative retreat takes place at a spacious house next to the beach, in a country that knows no winter. I would love to share that house with, let’s say, 4 other people, and while each of us have our own space to create and sleep, we come together frequently to speak about our works. My ideal creative retreat also hosts an in-house cook that prepares delicious food, because I’m really not a big fan of cooking but hungry many times a day. The beach, the house, the village are quiet and allow us to sit with ourselves and our work. No internet and smartphones are not allowed, but stamps and paper everywhere, paints, woods, fabrics, clay, and a linocut printing press. A radio to listen to the local radio stations and gorgeous flowers everywhere.
One word that describes my most recent work is: Memory
A quote that inspires me is: “Humans, not places, make memories,” by Ama Ata Aidoo. It’s a quote I came across a few weeks ago, and I feel that it really relates to my most recent work, which is all about memories and remembering people. To be honest, I didn’t know Ama Ata Aidoo before finding that quote, but I look forward to reading some of her books in the future and get to know more about her life.
My hope for those viewing my work: If I could wish for one thing, it’s the understanding that as humans we are all a lot more alike than we are not. What matters to me is probably very similar to what matters to you. Health, friendship, family, love, a peaceful space to thrive in, justice for ourselves and for our loved ones. Being appreciated for who you are, getting somewhere with whatever you’re doing and not being stuck at one place.
It's true that our backgrounds and experiences are ours only. But the feelings that they evoke in us are the same in almost all of us. My works speak about these feelings. They are stories of love and loss, of dreams and memories, of grief, hope, anger. Of feelings and emotions that we collectively share as human beings and which have the power to connect us, if we let them to.
Issue 6 Creator Spotlight | Nick Paradis
C+B: Tell us about yourself, Nick!
NP: Full time I run Production/Manage a Screen Printing Shop in downtown Concord, New Hampshire called Eastman Fine Screen Printing. I have worked in printing and bindery for over a decade on small to large scale machinery as well as custom hand-pressed/bound projects/operations. I enjoy diverse forms and methods of printing. In my spare time I paint with oils and mixed media, I enjoy creating murals and custom commission paintings for customers. I print in my studio as well with different styles and mediums. I submit work to open call exhibitions and attend community based receptions and events. I write poetry and prose freely on the side and attend open mics and submit my work for publication when the opportunity arises. I enjoy hiking, biking, and going to the ocean. I have a pet chameleon, her name is Socks.
C+B: How has your relationship with your work changed since you first started creating?
NP: As I've matured and experienced life so has my work. I think a huge part is the experiences and memories formed and shared amongst others throughout time. Adaptation. Innovation. Belief. The ups and downs.
I went to College, I studied art—but does that necessarily mean I went to school for art? There are so many other viable variables that contribute to my ideology of creating. Art is merely the vessel my life sails on. I wouldn't have art if not for the other basic life tendrils awaiting to grab my vessel and shake it up. As time has passed and you've collected multiple rooms of art supplies and knowledge, conversations, culture, museum visits, lectures and raw emotions- That creates a lot of change subconsciously whether seen or not. The mirror is yourself. Art is the eyes.
C+B: What has your experience been like receiving feedback or criticism of your work?
NP: I enjoy feedback and criticism. I actually get very excited when I am inching closer to seeing something I wasn't able to see- or because it was of a different subjective perspective. Or if someone recommends using phthalo blue vs ultra marine blue and you can see the result without actually mixing the paint or applying it- that's the magic of feedback. It helps build your work and process, but the criticism needs to be constructive with the same end goal in mind. I don't like words like good and bad, they have destroyed most of our greater perspectives towards creativity.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
NP: I love and despise this question. I don't think its fair for me to have a favorite or hold a place for admiration. I choose to be as diverse as possible. But if I must, I really enjoy album cover art, because of its diversity.
Find and support Nick here:
IG: @paradisart
(Shadows and Dust, mixed media, ©Nick Paradis)
My ideal creative retreat would be: South Pacific. I don't know if I have an 'ideal' creative retreat. I just need the tools to create. I usually forget about the walls surrounding me when I'm creating so the South Pacific on a beach sounds pleasant, and I like the color green the most, so I'd like to be surrounded by that.
One word that describes my most recent work is: Shine
A quote that inspires me is: “Talent is the ability to let ideas
manifest themselves through you”- Rick Rubin, from his recent book 'A Creative Act: A Way of Being.'
I chose this because I've been looking at art more as a lifeform and vessel rather than a pencil smudge or clay on the wheel. I believe creativity and psychology go hand in hand, and at times it may be hard to see yourself as an artist or creative- and when you bring that down to the metaphysical level its not an understanding, its more of a way of life.
My hope for those viewing my work: Diversity in multiple mediums. Well versed.
I never wanted to do just one thing, like paint lighthouses or just portraits. I didn't want to only read Kerouac or Hemmingway. So I read other things. I like 90's Seattle Grunge...and Jazz, funk, R&B, and Metal. I like theatre and ballet, and also fast paced adrenaline activities.
My point is,
I want the audience to see the boiling pot of all the diversity. All that's out there.
Oil or watercolor? Why not both?
So I believe I vicariously am doing what I see in front of me on that larger scale, and I hope others can see the girth of it as well. I wanted to create art that would touch millions- not just one type of person, like a bird watching enthusiast that bought my paintings of doves and canaries. Or the sacred geometry nerd that loves my cubism. I wanted to be able to offer something to everyone, so I try to cater to being as versatile as I can.
Issue 6 Artist Spotlight | Ruth LaGue
C+B: Tell us about yourself, Ruth!
RL: I am a user experience designer by day. I try and solve meaningful and relevant problems for users while they are using an online product. That’s a long winded way of saying, I’m always analyzing how a process can be simplified, so there’s no barrier for a user to understand what their next best action is. And any other time of the early mornings, evenings and weekends, you will find me in my studio.
C+B: How has your relationship with your work changed since you first started creating?
RL: Creating has always been a personal journey for me; in design I work to solve problems, and that had a lot of meaning to me in the beginning, but I found through the years I needed to explore my own voice and took up painting. First in encaustics then acrylics, my subject was abstracted landscapes, and that too had a lot of meaning to me in the beginning. When COVID hit and everything shut down, I began exploring the details within the landscape, animals, barns, houses, etc., and that became a refreshing new challenge for me. I got in touch with my love of simple shapes, and applied color to them.
Lately, that simplification has me concentrating around a central theme — barn as cathedral. Barns hold a presence on the landscape, they are connected to the earth and to us. They serve a function greater than the contents within them — they protect.
C+B: What has your experience been like receiving feedback or criticism of your work?
RL: I enjoy critiques when I feel people get what I’m doing and can steer me to see something in a different way. I’ve had two amazing teachers recently who in different ways have seen my work and been like laser beams to help me not paint everything I see, leaving a bit open for interpretation.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
RL: I love Fairfield Porter — I admire his loose energetic style and how he bridged the gap between realism and abstraction. I also love that he painted scenes that were around him.
Find and support Ruth here:
IG: @ruthlague
Website: ruthlaguestudio.com
(Field of Gold, 12’’ x 12’’, acrylic, ©Ruth LaGue)
My ideal creative retreat would be: A small modern cabin with lots of sunlight — someplace I hear (and feed) the birds. A place that has two comfy chairs for my two Havanese dogs (Rikki and Owen) and a short path to my home, so I can touch base with my family.
One word that describes my most recent work is: Simplicity
A quote that inspires me is: “You must do the thing you think you cannot do” by Eleanor Roosevelt. She was a voice for those who didn’t have one and she pushed forward with courage.
My hope for those viewing my work: I hope people will have a renewed sense of their surroundings; expand their partnership with the earth and it’s greatness and maybe on occasion, visit one of the people’s cathedrals, a barn, with new eyes.
Issue 6 Artist Spotlight | Gabriella Giaconia
C+B: Tell us about yourself, Gabriella!
GG: I am an elementary art teacher in NYC. I enjoy going to the beach, checking out galleries and exhibits around the city, and trying different Italian food and restaurants. My inspirations come from shapes and lines in nature, and the connections I have with people and myself. I think that paintings are a lot like people.
C+B: How has your relationship with your work changed since you first started creating?
GG: It is much more of a priority in my life. When I first started teaching, my own creative practice became non-existent for about 4-5 years. I felt very unaligned in many aspects of my life. Since getting back into it and being much more consistent, I feel much more myself.
C+B: Describe the earliest memory you have of creating something. How did it make you feel?
GG: My most distinct memory of creating something was in 3rd grade art class. We were studying Georgia O'Keeffe and her flowers, and our assignment was to create flowers using chalk pastel on black paper. I remember loving using that material, and seeing how vibrant the chalk pastel was on the dark paper excited me. That piece was chosen to hang in the local mall in the district art show, and when I took it home, my mom framed it and hung it in our living room and it made me feel so proud.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
GG: I have so many artists and creators that I admire for different reasons, but Julia Cameron's book "The Artist's Way" changed my life. Her ideas and beliefs and rituals around creativity really catapulted my own creative practices, so she is usually the first that comes to mind around creative inspiration.
Find and support Gabriella here:
IG: @gabbygiaconia
Website: etsy.com/shop/BelleandBumble
(Untitled 1, 8’’ x 10’’, mixed media, ©Gabriella Giaconia)
My ideal creative retreat would be: My ideal creative retreat would include morning pages, solo art making time, supportive critique time with other artists, and it would be by the ocean, where I feel the most at peace, creative and inspired.
One word that describes my most recent work is: Layered
A quote that inspires me is: Although I do not know much about Thomas Merton, his quote, "Art enables us to find ourselves and lose ourselves at the same time" has always spoken to me. I think as artists and viewers of art we learn more about ourselves, other people, and the world around us each time we participate in creating or looking at art, while also escaping from reality into another realm.
My hope for those viewing my work: I hope it inspires them to want to pursue their own creative work, and invite them to look at paintings like people- with lots of layers and a story behind everything. Maybe the colors or movement will also remind them of a special time and place.
Issue 6 Artist Spotlight | AnaVito
C+B: Tell us about yourself, AnaVito!
AV: I'm a full-time artist originally from the vibrant landscapes of Puerto Rico. My journey is a blend of diverse experiences, as I hold a law degree, a bachelor's degree in art, and a bachelor's degree in fine art. When I'm not immersed in my creative endeavors, you'll often find me on the move – whether I'm out running, working out, or enjoying leisurely long walks, I relish the physical and mental release it provides. What fuels my passion as an artist is the intricate tapestry of human relationships and how they endure and evolve over time. There's an unspoken magic when two people connect and remain irresistibly drawn to each other, even after decades. As a child, my sister and I would spend one month of our summer with our dad, who was a union organizer, and that often involved participating in union work. Meanwhile, my mother worked for the Instituto de Cultura Puertorriqueña, which allowed my sister and me to dive deep into the rich tapestry of Puerto Rican culture, art, and music. It taught us the vital importance of providing people with access to their cultural heritage. As a hidden quirk, I must admit my enduring love for Harlequin romance novels. Yes, I still read them to this day, and it's from those pages that my fascination with intimacy and the complex dance of connections in our lives was first kindled.
C+B: How has your relationship with your work changed since you first started creating?
AV: My relationship with my work has undergone a profound transformation since I first started creating. In the early days, I was plagued by concerns about external expectations, worried about meeting the perceived standards of what an artist should be. I carried the weight of fearing disappointment, and was cautious about being too open and forward with my emotions. There was a strong undercurrent of wanting to be seen in a certain way.
However, as time has passed and my journey as an artist has evolved, I've undergone a significant shift in my approach. I now create art that is a genuine reflection of my innermost feelings, desires, and the stories that truly matter to me. I paint people I know and individuals I've encountered along my life's journey. I've come to understand that not all my themes and stories will resonate with everyone, and I've grown perfectly comfortable with that realization. My primary purpose has shifted from seeking external approval to painting for the sheer joy of expressing myself. I paint to tell stories, to convey the emotions and experiences that have made a profound impact on me. While it's a tremendous blessing when others connect with my work, I've learned to find fulfillment in the act of creation itself and the authenticity of the stories I tell. This transformation has allowed it to be a genuine extension of myself and my experiences.
C+B: What has your experience been like receiving feedback or criticism of your work?
AV: Receiving feedback and criticism about my work has been both enlightening and challenging. I've realized that there will always be critics, some who love my work and others who don't understand it. I've had instances where my work has been received with genuine admiration and enthusiasm, while in other cases, it was met with confusion and misunderstanding, leading to some rather lengthy and perplexing conversations.
I now approach my creative process detached from the fear of criticism and focus more on the act of creation itself. I've learned to value the opinions and feedback of others, whether positive or negative, as opportunities for growth and learning rather than as judgments. I've come to appreciate that while criticism may be inevitable, it doesn't have to dictate the course of my creative expression. It's about staying true to my vision and letting go of the need for external validation.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
AV: I admire Michelangelo as a creator. His versatility and innovative spirit in working across multiple artistic mediums have always drawn me to his work. Michelangelo's ability to push the boundaries of art and make groundbreaking discoveries in various disciplines is truly inspirational. His dedication to excellence, his contributions to painting, sculpture, and architecture, and his timeless masterpieces such as the Sistine Chapel ceiling and the statue of David continue to captivate and influence artists and art lovers to this day. Michelangelo's unwavering commitment to his craft and his fearless pursuit of new artistic frontiers serve as a constant source of motivation for me in my own creative journey.
Find and support AnaVito here:
IG: @alencastudio
Website: anavito.com
(Nearness of You, 16’’ x 20’’, oil on canvas, ©AnaVito)
My ideal creative retreat would be: In a serene picturesque natural setting, where I can fully immerse myself in the creative process. Whether it's a cozy cabin in the mountains or a beachfront bungalow with access to the ocean, this retreat offers a well-equipped space flooded with natural light and abundant art supplies. It provides ample time for reflection, exploration, and experimentation, allowing me to delve into new ideas and techniques, all while letting my creativity flow without constraints. Surrounded by the people I love, my cats, and the nurturing presence of nature, this retreat serves as a space for self-discovery, growth, and the development of my artistic voice.
One word that describes my most recent work is: Passionate
A quote that inspires me is:"What happens next is up to you" is a powerful mantra that resonates with me, even though I'm unsure of its specific origin or attribution. It's a profound reminder that applies to both life and relationships, encapsulating the idea that we should embrace our emotions and express them authentically, without fear or reservation. This quote underscores the importance of taking control of one's own narrative and, in turn, relinquishing the need to conform to outdated societal expectations.
I admire the sentiment behind this quote because it promotes vulnerability and the liberation of emotions in art and life. It signifies a shift from a time when emotions were often suppressed, particularly for women, to an era where genuine self-expression is encouraged and valued. The idea that, in both art and life, we can openly show love and care for those we cherish and let them know how we feel, is a beautiful and empowering concept. It's an affirmation that encourages the creation of heartfelt and meaningful art, as well as fostering honest, authentic connections with others. This quote serves as a reminder of the importance of being true to oneself and embracing the beauty of genuine emotions and connections.
My hope for those viewing my work: I hope people take away a sense of genuine connection and a deeper understanding of the complexities of human emotions and relationships. I want them to feel the authenticity of the stories and experiences I convey through my art, and to be moved by the power of vulnerability and self-expression. My goal is for my art to inspire others to embrace their own feelings, connections, and to appreciate the beauty in imperfection. I aspire to create a sense of belonging and the feeling of being truly seen and understood in those who engage with my work. I want people to understand that it's not only okay to be vulnerable and to express their feelings openly but that it's essential for creating a life that resonates deeply with the hearts and souls of those who experience it. Ultimately, I hope that my work conveys genuine emotions and connections, encourages sincerity and openness to find a sense of solace and connection in the shared human experience.