Helen Masacz

Helen, how did your career start and you always wanted to be an artist?
I had a bit of a late start, completed my degree in 2004 and got a painting into the National Portrait Gallery for the BP awards the same year. I always wanted to learn how to paint but the opportunity only presented itself when I started evening life-drawing classes and was encouraged to take it further by my tutor in 2001. I actually applied for a foundation course after I finished my ‘A’-levels way back in 1982 but I didn’t even get an interview as I was an ‘O’-level short, so found a job instead.

Your work centres around the theme of transition and the mark that it and time has on people’s lives. Why does this theme interest you so much?
I suppose my life has been a series of extreme transitions; nothing seems to stay the same for long. I look back at what has been and feel disconnected from the past- it seems so different from what I am doing now, it’s like watching a movie of someone else. I use my daughter in my work and try and register the changes she has gone through as a teenager.

How did it feel to be selected by the National Portrait Gallery to exhibit in the 2004 BP Award and the 2005 Mystery Postcard Exhibition?
The National Portrait Gallery is a great platform to show work, so I was obviously very pleased my work was chosen. The following year I was invited by the gallery to submit an A5-size piece of work to be auctioned off alongside other artists such as Tracy Emin and Marc Quinn. The Right Honourable Valerie Amos bought my piece, a life drawing of a friend.

Was your portrait of Nyanda selected by the gallery or did you decide to put that painting forward?
That year I had painted fourteen portraits for my degree show based on inclusion. I chose Nyanda as I thought her expression emotive. Each artist who applies is allowed one entry per person.

'The Wait'

Are your paintings created from imagination or are you influenced by real-life experiences or situations that you’ve witnessed first-hand?
No, my paintings are not from imagination – my experiences and my family’s exposure to social and cultural developments reflect in my work and are sometimes ambiguous to the viewer. Painting from my life’s occurrences validates and documents my experiences; they can be seen as mere suggestions, subtly defining our moment in time.
My paintings are based on thoughts which are influenced by real-life situations, issues of everyday life to long-term influences during our life time, the transition from childhood to adulthood, the changes in relationships over a lifetime and the meaning that the passage of time imprints on all our lives. I think real-life experiences have more impact than imagination, connecting to a greater audience who may relate to the issues of transition.

Many of your paintings seem to capture a pivotal moment in the lives of the subjects Do you aim to provoke a certain reaction or emotion from the viewer with your work?
I would rather leave the viewer to make up their own mind. Each person’s experience is different and I am just providing a trigger point, or not.

'Lilies'

You predominantly use oils; why are these your preferred materials for the works you produce?
I think using oils is much easier than say acrylics, which I find difficult to blend with. Oils feel a lot more permanent than water colour and I have more control over oil pigments.

You’ve exhibited in some enviable venues! Is there any advice you can offer to artists who might experience difficulty in getting a foot in those doors?
Circulating your work in galleries is a good position to be in. Before getting to this stage, you could approach the galleries you are interested in via email individually – not with a one-off email sent to all the galleries you can find. Galleries like to know you have done your research, that you think your work will fit in with them and that they are not just on a massive mailing list. Send a clear, concise covering letter, your cv and some examples attached of your work. Visiting the Affordable Art Fair and others for example, is a great way of seeing which galleries are more suited to you. Some galleries do not like being approached in the flesh without an appointment and some galleries prefer you to send slides; to save time it’s best to ring a gallery first and ask them the best way to show them your work. If the gallery are interested in your work after you have sent your details, they will want to see it in the flesh, perhaps visiting you in your studio to see you in your working environment – it’s best to have a current body of work for them to see. There are plenty of guide books on the market to help you; one I read and found useful was: The Artists’ Survival Manual: A Complete Guide To Marketing Your Work.

How did your current project (portrait of Boris Johnson) come about?
I contacted Mayor Boris Johnson and he was happy to sit for me.  I am not sure what will happen with the painting as yet, but would like it to hang at the National Portrait Gallery.

Somebody once said their success was due to 10% inspiration and 90% perspiration; what would you say is your ratio?
That sounds pretty much about right. I suppose if luck comes into it, your work still has to stand up on its own merit.

'The Absence Of Adam'

What should we be looking forward to from you in the future?
At the moment I am working on commissions as well as preparing and researching on exploring the human condition within my own work. In the New Year I will be exhibiting my Boris Johnson portrait – venue yet unknown – and working on that one.

I’d like to thank Helen for her generous time, for sharing her experiences and  for her fantastic advice!  For more of her amazing work, including the ‘Nyanda’ portrait displayed in the National Portrait Gallery, visit her website:

http://www.helenmasacz.com/

Mike Bishop

How did your life as an artist begin and was it always something you wanted to do?
My Mum was quite artistic and she encouraged me to draw and paint with my two brothers at an early age..mainly eachother, literally.  At school I liked art because the teacher seemed a bit more friendly and normal than the other teachers so I took ‘O’ and ‘A’-levels in art. I did a foundation course at Farnham, Surrey for a year and then in 1977 went to Brighton Polytechnic (now university) to do a BA Hons in Graphic Design, specialising in illustration. I did have two years hiatus after the first year when I left to play in a band in London. However, our failure to become overnight jazz-fusion superstars – mainly because of the punk explosion – meant that this was short-lived and I was very happy when the college let me resume my studies, going on to get a 2.1 .

You have worked as an illustrator; how was your experience of working in this field and what advice could you offer to other artists considering this path?
Illustration is a good job but it tends to be stylistically changeable and cyclical, especially in the editorial and
advertising sectors. Art directors are always looking for fresh styles and there are always new students coming through. It also depends on the economy; I had a good run in the 1980’s and managed to get a good agent in London (Folio) which was a great help. Book illustration seems a bit more stable and though generally not as well paid as advertising work, may have greater longevity. My advice would be try to have an original style but be prepared to adapt and develop as the art director calls the shots.

You have worked for some impressive clients; how do you cope with artistic deadlines?  Do you find you thrive under pressure or is it sometimes stressful?

Mike's Tube Poster

I don’t mind deadlines; they’re often easier to handle than no deadlines at all. You always seem to get the work done even if it’s just by the skin of your teeth…even if the cat has just walked over the finished painting and you have to re-do it while the courier is waiting!

What has been your favourite illustrative piece that you’ve created and why?
My favourite commission was a poster for London underground. It was a very open brief, the subject being Soho at  night. I did two paintings and gave the art director the choice. Luckily he went for my favourite. It was great to travel round London for a time and see it printed larger than life.

Your other site focuses on your paintings.  When did you decide to explore this side of your work and why?
I lived in New York from 1990 to 1995 and it was there that I veered more towards painting. By this time I was getting a bit jaded as an illustrator and wanted to concentrate on my own work without the restraints of a brief. Being in a new environment is artistically stimulating and I loved the vibrancy of the city. I spent a lot of time just roaming around absorbing the sights.

You use oil and acrylic on canvas; why does this medium suit you and you used others?
I used to do a lot of colour pencil illustration but it went out of style. For my paintings, I like now to use a combination of acrylic and oil. I often use acrylic as the under coat as it dries fast and then finish off with oils as they tend to have better colours.

'Sunlight On The Garden'

Are your paintings based on places you have visited or are some from your imagination?
The scenes I paint are essentially real places but I like to refine and stylize them so they end up looking slightly surreal and unusual.

Any artists who inspire you to paint the way you do?
Some of the artists I admire are David Inshaw, Michael Andrews, Edward Hopper, John Singer Sargant;  most of the old masters and especially the Russian Itinerants.

Do you paint from memory, from sketchbook or do you paint on site?
For the bigger, more detailed paintings I use sketches and photos which I sometimes grid up to scale on the canvas. I also enjoy painting outside directly onto board or canvas using acrylics (again, as they dry quicker) with no  preliminary drawing at all. This makes a refreshing change from the more complicated pieces. Memory must come into it too, I suppose

'Suburban Myths'

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You have some very interesting sky/cloud details in your paintings, especially the ‘Suburban Myths’ series!  The colours are very vivid; does the sky hold a particular appeal to you when you paint?
Yes, the vibrant sky in these paintings acts as a counterpoint to the often dark melancholic scene below.   Also there’s the hint that the clouds may not be all that they seem. In one painting I used a photo of an explosion as cloud reference and the aeroplane vapour trails add to this mystery; has a bomb just been dropped on an ostensibly peaceful English suburban scene? This adds to the slight sense of unease and, I hope, illuminates the fragile nature of a seemingly safe environment.

Do you aim to provoke a certain response or reaction from your audience with your painting or do you strive to keep ‘meaning’ ambiguous in your work?
I like ambiguity and the fact that people are free to find their own story in each picture. Everyone looks at things slightly differently and each response will be unque. One person thought that the reflection of a boat I had painted looked like a shark. It hadn’t occurred to me until they pointed it out!  Once a painting is finished it takes on it’s own personality.

How important is exhibiting to you and do you feel it’s essential for an artist to ‘get out there’ as well as having a website?
I like to exhibit although it’s not essential. Working towards a show can help structure your time and gives you something tangible to work towards.  You can also work on a series or theme and it can help to concentrate your thoughts. Also they can be self-educational; when I used to show at Francis Kyle Gallery, he would often have themed shows which would involve some research and travel to India or Russia, for example. Having a website is a good way of selling your work and getting it seen by a large number of people. You sometimes get intetesting emails from people all over the world.

'Last Summer Day'

How long does it take you to create a work from start to finish?
It depends on size, detail of finish, how complicated the subect matter is and again if there is a deadline.  Oh, and laziness!  A deadline will always speed things up. Generally the big detailed paintings take about a month.  If I’m working outsisde I like to finish in one session of about two hours.

What has been the high point of your career as an artist/illustrator?
Getting a first commision is always a thrill for an illustrator. Mine was when I was still at college for a book  about the Russian Revolution. I had to do a painting of Lenin talking to his troops from a train. I used my Dad as a model for Lenin. It ended up just looking like a my Dad with a false moustache on!  Later on, going to the newsagent to buy a magazine with your illustration in was a lot of fun. As far as painting goes, for me really the high point is always anticipating and starting the next one.

What is next in the pipeline for you?  Any new directions or exhibitions coming up?
At the moment I’m working on a series of horse paintings and continuing with the ‘Suburban Myth’ series.  I hope to show at the newly-refurbished Highgate Contemporary Art Gallery in London next year and possibly the Florence Biennale in 2011.

I’d like to thank Mike for his time and his contribution to ‘Spotlight’.  You can see more of his work at both his sites;

http://www.mikebishopillustration.com/

http://www.mbishopart.com/

It is evident from your work that you are inspired by street scenes and buildings!  How long have you been painting these settings and what aspects of a building or street draw you in to the point where you want to paint it?
I started developing a love of painting buildings and street themes when I was studying illustration at Falmouth School of Art back in the mid 90’s.  As part of the course we were encouraged to develop our own work with one of our part-time tutors (who happens to be a very well-known Cornish painter called Rob Jones). I developed lots of sketchbook work based on the town, looking at details such as the architecture, bunting and tiny windows tucked into the eves of crooked rooftops.  It was the first time I remember really enjoying my craft and exploring what mad me tick. I was looking at everything differently and realised I had up until then been blind to everything around me. The aspect that draws me in is the feeling you get about the subject, of how it invites your senses and you want to find out more, beyond the walls and doorways.  You get a sense of mystery, of another time perhaps and wonder about how much life has taken place where you are standing. People often find they question what is happening beyond the doorways in the shadows, discovering the stories that might be unfolding.

Do you paint from memory, photograph, sketches you’ve done previously or at the scene itself?
When I travel, time is of a premium (unfortunately), so as well as a sketchbook I always have a camera with me. It is incredibly handy, especially when time is a big factor.

Mostly what I find I do is to sit somewhere, either at a café table, on the curb perhaps and just spend time watching the world around me, absorbing everything, using all the senses. You cannot bottle the atmosphere; it isn’t something that is tangible, you can only convey a feel for a place from your memories, from your own experiences, and try your best to translate that in your work.

There are a lot of Parisienne cafes and shops in your art; what is it about Paris that you love so much?
Where do I begin? Whenever I am in Montmartre I have this weird sense of belonging; perhaps I was a dancer at the Moulin Rouge in a previous life, who knows!!!  In all seriousness, every time I get out of the Metro at Abbesses and take the short walk up the hill to the Sacre Coeur, I feel like I’ve come home. I’m entranced by it’s beauty, it’s sense of history, how it still feels set apart from the rest of Paris as it used to be a hundred years ago.  It’s as popular to artists now as it was then, for all the same reasons: it’s rare that such a small area could be so inspirational to so many.
I was last there in December ’08, and spent hours under the canopy of a small piano bar drinking mulled wine and listening to Edith Piaf, as the rain was falling. It was late evening before I had to bring myself to leave.  The wild horses had to drag me away, else I would no doubt still be there!!

What feelings or reactions do you hope to arouse in people who view your paintings?  Do you aim for a certain reaction and if not, are you ever surprised by reactions that you get?
I would like to inspire in others the same feelings and arouse the same senses. I would like to invite the viewer to join me in those experiences. Many of my paintings have a very subtle idea of a narrative unfolding, using figures in my paintings to allow the viewer to connect with them and be a part of the storytelling.
What I love the most is hearing people talk about the honeymoons, the holidays, where they met and fell in love, even being born in the same streets as those I have painted and stirring up memories and moments in time for others – I find that sort of thing the most rewarding of all.

I love Paris and looking at some particular paintings made me want to either go back there or buy the painting!  Do people who buy your art tend to have visited the locations that you paint or do the paintings conjure up such lovely images that they have to buy them, regardless of whether they’ve been near there or not?
It’s true that many people who have bought my paintings have been to these places, re-iterating what we were talking about before; many have wanted to keep their happy memories alive. But that is not always the case; a lovely reporter for the Oxford Times who was reviewing an exhibition of mine singled out a particular painting. She described how she longed to sit at the yellow and white check table, to drink a cup of coffee with an absinthe chaser and to watch the world go by. I loved that so much, and it’s probably no surprise she later bought the painting.

Do you look for new locations to paint or do you only paint locations you’ve stumbled across which have touched you in some way?
I essentially paint places I stumble across, and don’t set myself any missions to find them; they seem to find me if I’m honest!!

You work with acrylic; why is this your preferred method and have you worked with other methods?  What made you choose acrylic?
Acrylics are a fabulous medium to use for so many reasons.  I used to use watercolours many moons ago – at school I guess – but was using them too thickly and consequently spent a lot of money on paint. Then I tried oils which I couldn’t get to grips with at all; smelly, took forever to dry – hated it! With Acrylics you have all the benefits of water-based paint with no nasty smells. You can use them thinly like a watercolour, or very thick like oils.  I use system three and I would never go back; the strength of colours is brilliant. My new best friend is the impasto gel from that range.  It helps to create layering effects, giving a great sense of depth. I couldn’t live without them now.

You used to work for a publishers but left because of the strict briefs which you felt stifled your creativity; what advice would you offer to artists starting out who may be taking work where they have to meet the requests of others rather than explore their own creativity with total freedom?  Is it a good thing to do for a period of time anyway?
I did briefly work as an illustrator, but I wasn’t fulfilled at all. I knew it wasn’t for me and it showed. However there is no harm in trying out many facets of the art world even if they merely help you to decide that’s not for you. For many, illustrating is the perfect combination; you love drawing and painting but you like the guidance and direction of others. But it wasn’t for me!

How is your career coping with the current economic climate?  Do you feel that artists are being badly affected by the credit crunch or have you not noticed much difference?
I actually haven’t noticed a big difference actually.  Art and the love of art is as vital to our world as needing a car or a refrigerator. I hope!!!!

Do you exhibit?  How important is getting your work out there as an artist?  Do you feel the need to get into the public domain or do you only use your website for that?
I do exhibit yes; you need to gain wider audiences and to build up your network.  Private views are a great way for people to meet the artist behind the work. It’s also great for meeting other like-minded people but I appreciate it can be a scary business too.

What is in the pipeline for you at the moment? Any new projects or paintings on the way?
I’m working on a series of smaller paintings at the minute all about the fun fair, incorporating lots of colour, light and movement.  It’s something a little bit different and I will see where they lead me!

What has been the high point of your career so far?
Hard question really, it’s all been good so far. It’s all a journey of self-discovery, much like life.

Any general advice you can offer to artists who may be starting out on their road?
Always be honest with yourself and others – your work will benefit from this.  Don’t try too hard; you don’t need to make a profound statement to impress people.  Remember what Hopper said, your work must reflect you, you are the work!!  Above all stick with it, and don’t ever lose heart.

I would like to thank Melissa for her time and her thoughts…..you can get a better insight into her work on her website:

http://www.melissajsturgeon-artworks.co.uk/

Wendy Massey

How long have you been creating both your art for children and your acrylic paintings?
The children’s side of it has probably been since the beginning of this year but the other art about 2-3 years.  I have another job on the side which is as a teacher but I only teach a max of about 8 hours a week. I don’t teach a lot of hours.  I teach crafts and literacy which is actually a good balance!

How do you manage to fine-tune the balance between your fitting in your day-job and your art?
It’s not easy!  It does focus you in a way because for example the teaching I know has got to be done and also the orders for children’s art that customers put in have got to be done so I’ve got that framework to work with and that motivates me quite a lot.  It’s also nice to do something different!  It’s easy to get bogged down doing the same old thing all the time so the change is nice – although fitting both in is a balancing act!

How did the children’s art develop from your original paintings?
What really pushed me into it was being made redundant!  That certainly made me jump!  I was teaching in a young
offender’s institute in a teaching managament role and that role was swept away with a re-structure. That was a huge leap for me primarily because it was a well-paid job.  I’ve gone from a good salary to being a starving artist!  I’d been thinking about the children’s art for quite some time and I just decided that with being offered redundancy, this was the time to do it.  So although it was a choice it was a little bit of a shove as well.  It’s something that I’ve always thought about because my life has always been quite child-orientated; I’ve got four children of my own and two grandchildren and they take up quite a big chunk of my time.  So I’m very aware of what things people do buy for children and the gift aspect of it.  I also think my style lends itself to children’s art anyway; it’s bright and colourful.

'Magical Fairy Canvas'

What sort of feedback to you get from people who buy your work?
I do a lot of art & craft fairs and also school fairs and I love watching people’s faces as they’re walking past and don’t know they’re being watched!  I like the reactions; usually people smile and I get a lot of good feedback there at the actual event.  People will say what they really like.  Getting feedback later is really nice as well; people will telephone or email once the event is over to tell me how much they like the art and how the child is enjoying it so that’s all good!  Feedback is really important for developing your work because people’s responses will trigger ideas that you haven’t yet thought of.

How important do you feel it is as an artist to ‘get out there’ and not just rely on your website?
It’s very important!  The main thing for me, as I’ve touched on, is the feedback; you need to know what’s working and what’s not.  The website is great but meeting people face-to-face, getting the responses first-hand and immediately is really helpful.  Another big bonus of ‘getting out there’ is having a break from working by yourself!  Again, it’s getting that balance right.  Sometimes I feel I’m doing too many fairs and not enough art production so getting the balance so that you’re happy with it takes some time.

You started your art career with many paintings of the seaside!  I can guess that you love it?
Oh, yes, I do love the seaside!  I find that I do paint what I’m inspired by – that’s natural.  I’ve not yet been able to live by the sea but maybe one day!

How do you get them done?
I do take photographs of anything I see that inspires me.  I’ll always simplify any photographs I take as I like my paintings to be quite simple. I do sketches as well; if I’m sitting on a beach, I’ll always have my sketch-book with me!  There’s a bit of imagination thrown in there as well. I don’t paint on site though!  I think that’s partly down to a lack of confidence to be honest.  I’m not always happy with all the stages of my paintings so I’d prefer not to do that in public.

There seems to be a lot of escapism in your art; is that intentional?
Oh, that’s absolutely important in my work! I’m not quite sure why I do it but I think it’s simply that we have to deal with so much heavy stuff day-to-day that it’s almost a release for me.  It’s an antidote to stress.  I absolutely love to put a smile on people’s faces!

Why do you choose acrylics?
I’ve tried more or less everything else!  I like acrylics because they’re so immediate; you can produce and finish your art quite quickly with them.  I’m quite impatient, especially when I’ve got an idea so I want to get it down, done and finished.  Even if the first draft isn’t perfect I like to get it done then I can always go back and improve on it later. If you’re not quite sure on the colour you can paint over it with no problem.  I don’t like the smell and the ’slowness’ of oils!  Although I’ve done a fair few watercolours but I feel that the colours themselves aren’t as bright.

Can you offer any advice to artists who may be wanting to start selling their art?
Yes!  I mentioned having a lack of confidence in getting out there and painting in front of people.  I think a lack in confidence can really hold you back.  There’s a book I read a while ago called ‘Feel The Fear And Do It Anyway’ (author Susan Jeffers) and the best piece of advice from that was to just get out there, drop your fear and do it.  Also, don’t let other people do all your selling, especially in the first few months.  I think it’s really important to do it yourself, not

'Peaceful Beach'

only in terms of it helping shape the direction you want to go in but in terms of your confidence levels.  Doing it yourself boosts your confidence no end!  Hearing people say that they like what you do – you’re the artist, you should be hearing it!  Another thing that’s really helped me with regards to selling my art is doing my online blog (http://www.1stuniquegifts.co.uk/blog/).   Promoting my work through the blog has been absolutely great and it’s really popular.

What’s next in the pipeline?
I’m definitely going to continue with the children’s art.  I’m interested in getting into designing and creating things for kitchens; some of the things I’ve been making have been bought by people for their kitchens, even though that’s not what I intended them for originally!  So producing something along the lines of wall clocks and so on would be great.  I’m thinking also about doing some prints of my work and personalising those prints by hand with names, dates and so on because I think that gives you a bit of a wider scope for selling. And it’s got to be commercial for me because this is my business!

I’d like to thank Wendy for kindly giving up her time and talking to me about her lovely art and life as an artist.  You can have a look for yourself at Wendy’s beautiful creations on her main art site and the site for her children’s art and gifts; http://www.1stuniquegifts.co.uk/

http://www.wendymassey.co.uk/

I caught up with her in Tokyo on her third visit to Japan; she’d just been to a flea market and picked up an antique Japanese doll for next to nothing.

What led you to become an artist?

I recall a conversation with my mum when I was small where she asked me what I’d like to be when I grew up. My reply was, “I guess I’ll just be an artist, what else can I be?”.  But after a little thought I asked her “can a girl be the Prime Minister?”. So I concluded “either that or an artist”.

You have an ongoing performance collaboration with Narinda Reeders called ‘Hit And Miss’.  Is there a recurrent theme in these performances?

By pure coincidence we both turned up to a party dressed the same – roller skates, red and white. We did know each other but we weren’t particularly close friends at the time, however we both concluded we should try the same thing next weekend. So next weekend we went to a friend’s gig dressed in suits. Because we were dressed up people expected us to perform, so we started hitting an egg on the dance floor with a stick.  And so it continued.

We found we didn’t like performing though – we can’t act and we just burst into giggles, so we decided to be still.  So for pretty much every installation our bodies were presented as dead objects. There’s a movement known as tableaux vivant (still life).  Before photography, wealthy people would pay people to reenact a painting, motionless, like “the last supper” etc. We started looking into it, but found that holding a pose for more than one hour is really hard. We realised we had been meditating in these positions, because we were breathing and relaxing and started to discuss what we were thinking about. This really brought us together and was really personal.

In terms of theme, we try to keep it playful – as we have nothing to lose but we like it to be a challenge at the sametime, hence the name ‘Hit And Miss’.  We think to admit failure isn’t such a bad thing, it’s an inherent part of creativity. We’re constantly embarrassing ourselves in front of people on purpose – it’s really therapeutic and very different to our own individual work.

What kind of reaction do you get?

I think the best reaction has to be the one we witnessed at the Royal Mile, Edinburgh. We were wedged between two phone boxes, our faces pressed against each other for an hour. One little girl came up with her dad and the following conversation ensued!

Girl: “What are they doing”

Dad: “They’re wedged behind the phone box”

Girl: “Why are they doing that?”

Dad: “Guess it’s probably art, darling”

Girl:“Yes but why are they doing that?”

Dad: “Well I think just because they can”

Girl: “Coool!”

During another performance where we had to be completely still, we had one kid was shouting at us “move! – stupid girls, come on MOVE!!!”.  It was really hard not to laugh.  One person kissed us; quite hard not to react and stay there.
(You can see more about ‘Hit And Miss’ on their website here: http://www.hitandmiss.me )

Are many of your performances/projects funded or commissioned?

Not usually. I might get an invitation but it will be along the lines of “can you come and do something at an opening – material costs covered”.

However I have been funded for working with groups of people and collaborations.  For example, “New Ruins” was a funded exhibition in old jail – it paid for six Glasgow artists to come to Melbourne and six artists from Melbourne itself.  The show was open for free to public;  it was only open at night and was pitch black so all the visitors were given a torch!

Another example of funded collaborative work was when I approached a private collectors group to sponsor an ‘art in houses’ project.

The group would pool their resources and periodically commission or purchase a single new work.  However, we wanted  funding to pair up several artists with home owners and get them to produce some work especially for those houses, which would then be open to the public for viewing. I came up with the suggestion that we use about 70% of the budget to fund the artists material costs and then the private collection would be able to choose one of the artists to commission a new work for which they would receive the remaining 30% of the budget [good business thinking Tai!]. The group loved the idea and it was a great success for all involved.  For my own work I was recipient of Australia’s Runway grant. This funded me to go to Berlin to do some work in “new media”, but all I did was give a talk about my work which doesn’t really have anything to do with new media!

What advice would you have for aspiring performance artists?

Don’t worry about what people think; do what you want to do without worrying about what the audience makes of it.  Inevitably some people will love it and some hate it.  It’s key that you get what you want out of it.  As long as you don’t rely on it to make you money it really doesn’t matter what people think.

Who’s your favourite performance artist

Daniel Freakly – The Quote Generator; he only speaks in quotes and is travelling the world at the moment

You also create some equally entertaining drawings and illustrations. First up, tell us about your Hirrafes!

I guess I started drawing them out of a subconscious  love of horses and giraffes. Giraffes have an ugly face and horses have a thick ugly neck, so one day I drew a ‘Hiraffe’.  A whole range of charactars have evolved.  In fact there was a period where all I drew were Hiraffes!

They don’t have bodies. There have been suggestions that I draw other similar animals, e.g. Gronky; half-donkey, half-giraffe, a Girony; half-giraffe, half-pony – but this sounded too much like a meat product.

Amongst your collages, The Madonna/Chiwawa made me laugh my arse off.   In fact I think it’s the first image that comes to mind when I think of your work. With your collage is there any deliberate message, or are you just having fun as you make them?

The Chiwawa happened by accident.  I was cutting off the ears of  a chiwawa (not a real one!) and the head off a madonna for something else and they both were on the same table at the same time.  Then I realised what a perfect match they were!  I love collage; it’s one of my favourite things – it gives you so much freedom.  You work with these bits and they come together and make their own story; it’s like you’re a channeler.

Do you sell your work or have any of your drawing works been published?

I’ve had some of my illustrations published;

Maiden Voyage – book of illustrations, came out last month
Herding Kites – book of poetry and drawings (review)
Artichoke (my favourite review of a great performance by Post)
Curvy magazine – Annual book of female illustrations round the world

What’s next for Tai Snaith?

Thinking about having kids – and travel!

Generally I just strive to keep extending my boundaries and challenging myself rather than just staying happy.  It makes you feel alive.  I like feeling a bit nervous about things. I’d love to be able to achieve bigger things on a bigger scale, not just creating for the sake of creating, to use those skills to do something bigger.

Recently I’ve become aware of the importance of being creative and adding something critical; to work out what you are trying to express and communicate it in language;  “why have I drawn this picture?”.  To this end I spent ten hours the other day, without leaving my apartment, thinking about why I was obsessed with this particular plastic greyhound (that I was considering using for some work).  It really made me think about what’s on the inside of me,; like meditation,v it’s a way to give you time to think.

Thank you tai! you can get in touch with tai through her website www.taisnaith.com

Hans

As a self-taught artist, when did you decide you wanted to create art for a living?
Ever since I could remember I’ve always been creating in one form or another,  from Etch-A-Sketch to painting on cereal boxes.  I’ve always known that I wanted to try and paint for a living.

What is it that you so love about the 1950’s-style art and have you always specialised in this?
I started out painting with different styles; abstract, surrealism and graffiti and then got pulled towards my love of pop art .  My goal now is to try and bridge pop art with a urban art vibe.  I love the 1950`s for its style, elegance and glamour, as well as the birth of modern living and pop thinking.

Where do you find inspiration for your art and how  difficult is it to translate modern-day inspirations into a 1950’s theme?
An idea can pop into my head while indulging in my love of pulp fiction, strange unusual comics, watching old films or going to galleries. What inspires me the most is seeing other artists’ work;  inspiration is something I never have a problem with.  I try to capture the brutal coldness of fast modern day living and soften it with a 50`s theme.

'Big Boys Don't Cry'

What about your audience?  Are they of a certain age and how do they respond to your work?
My audience is very mixed now!  Bringing  in the urban arts element to my work opens my portfolio of paintings to a younger market.  In general I’ve found that pop art appeals to the young and old and people from different social backgrounds.  People are surprised how good my paintings are in the flesh – I love receiving emails telling me this!

Tell us about any illustrations you’ve done; do you prefer working to the deadlines of somebody else or to your own? Is it one or two images that you have to create, or lots?
My illustrations are taking a back burner now; I used to work to tight deadlines working with numerous multi-layer imagery at once resulting in single creations.  I do work better with a little bit of pressure.

'Honey you're not home!'

How easy have you found it to publicise your work?  Any methods that have worked particularly well for you?
That’s the biggest obstacle for me – trying to bring attention to my work!  Exhibiting work is probably the best and  most instant way to bring attention to anyone’s work.   Going to a gallery and having a chat with the owner really helps to spread the word  and start letting people know you’re out there.

The black and white images are very striking against the primary colours paintings in your gallery.  How long do your paintings take to finish?
Black and white neutralizes then softens the painting which brings a whole new aura to the finished piece. One of my paintings can take anywhere from 7 hours to 3 days to create,  depending on the scale and complex nature of the painting.  When Ive been experimenting I’ve had paintings take up to 2 months to complete.

How are you finding working as an artist in the current financial climate? Has your work been affected?
I don’t think anyone has escaped the current financial situation.    I had to adjust my prices with the economic downturn.  Pricing is something you have to get right but on the whole I’ve not seen too much of a change in my sales.

What advice could you give to an artist specialising in a very specific style of art with regards to getting themselves noticed?
Try to be original and different from the rest;  it will in time get you noticed.  All genres of art are competitive but with belief and hard work you`ll get there.  Stay  positive!

What’s your favourite aspect of your job?
Standing in front of a blank canvas and creating something from my own hands; there’s great satisfaction in seeing something you’ve painted come to life   Also, seeing someones reaction to a painting is a big joy for me.

What’s next in the pipeline for you? Any new projects or plans on the horizon?
I have an Anglo-French partnership in place which is going to allow me to exhibit in Sao Paulo, Brazil and also an invitation to work with an award-winning art collective in Merseyside.  Then within the next coming months I am back exhibiting in Belgium.

'Uncle Graff'

We would like to thank Hans for his time and his pictures!  To further explore his unique and often thought-provoking work, take a look at his website; http://www.studiohans.com/