adam colangelo

{ADAM COLANGELO ANSWERS OUR QUESTIONS}


What medium(s) do you work in? and why is this your preferred medium?
My current and preferred medium is copper. I’m fascinated with its highly reactive qualities. Whether I use heat, chemicals, or both, the material can be completely transformed. I often have to explain to viewers that paint is never used in the process.

Who or what inspires you?
My inspirations stem from fairly basic, yet important life lessons I’ve learned from my older generations. I’ve always admired the commitment my grandparents held in living a life of hard work and loving the work they did. Furthermore, my grandfather has been a significant factor in fostering my love and appreciation for hands on work. He was a maker – and in finding my path, I have realized that I too am one.
After his passing two years ago, I felt the urge to create a piece celebrating the special bond between my grandfather and I. The chosen material was an old roll of sheet copper I found in his workshop. He was my inspiration for that particular piece, and has continued to be an inspiration throughout my work thus far.

Any wisdom you’d like to share about living as an artist?
I think one of the most challenging aspects of living as an artist lies in the physiological realm. It’s really easy to become immersed in feelings of doubt and anxiety, especially when pondering your style, production, sales, what shows to participate in, etc. I know we all share these feelings. What I’ve realized is that these feelings have been instrumental in my success thus far. This energy, whether you consider it positive or negative, fuels our progression and creativity.

As an artist how do you deal with criticism? What do you think can be gained from being open to critique?
I have always welcomed and even encouraged others to share their criticisms and critiques. I am only one person, with one mind, governed by my own experiences and perspectives. I love to hear what others have to say as it helps to expand my understanding of my work as well as the world around me. Positive remarks, negative remarks, it’s all good – if I’ve invoked a response I’m content.

What component of the creative process do you find most appealing? and what part of the process makes you want to continue making art?
As a child, when an idea to create or build something popped into my mind, I’d start working right away, relenting only when the day was done, and I was too tired to continue. I remember working on my homemade go-kart from morning to night, too preoccupied to even stop for lunch or dinner. I often fall into that same intense focus when working in the studio. This is a feeling I strive for, to become fully immersed in the work, while forgetting about so many of life’s unnecessary worries.

Do you think it’s possible to develop artistic talent or do you feel that it is innate? Why do you think this way?
I think it’s reasonable to say that some of us are better at some things than others. When it comes to artistic talent, I believe you begin with a certain level of potential which needs to be developed over time. It all comes down to how hard you are willing to work for something – and I believe that applies to anything in life.


Upon completion of his academic studies, Adam found himself with the time to indulge his ever-present desires to get messy and create.  After experimenting with a variety of mediums, Adam focussed his energies on copper. The first scraps of copper were discovered in his Grandfather’s workshop, a place filled with memories and lessons of practical improvisation that bordered on the artistic.

 Adam’s work has slowly evolved from found object to a more focused form of flame-coloured copper.  The beauty of this medium lies in its highly reflective properties.  Depending on how the material is treated, an entire spectrum of colours may be revealed.  Adam’s work projects a wonderful play between randomness and order, geometric in shape yet organic in pattern and colour.  Adam continues to explore his style and abilities one piece at a time, continually striving to discover new ways to view and appreciate the medium.

adamcolangelo.carbonmade.com

jason lee rhyno

{JASON LEE RHYNO ANSWERS OUR QUESTIONS}

What medium(s) do you work in?
Pencil, coloured pencil and pen on paper. In the past I have worked in assemblage and collage as well as painting and photography. But for now, my focus has been on drawing.

What question do you wish would be asked in an interview and how would you answer it?
I am always interested in hearing about the thought processes of other artists. I'm not a creative thinker, my approach to art making is methodical, so I find it fascinating to read about the creative ways in which artists come about their work.

Why art? and why art in Hamilton?
Drawing. I love to draw. I've been making the same little drawings since I was a kid in grade school. When you are a shy, quiet, awkward kid, drawing is the easiest way to make friends. Instant gratification, and the need to be liked.

As for why art in Hamilton. Hamilton is a city you can afford to work in. Cheap rent. The art community seems to be moving along well in Hamilton. Art crawl along James North is always exciting.

Who or what inspires you?
Pretty girls, beautiful boys.

Any wisdom you'd like to share about living as an artist?
Perseverance. Perseverance. Perseverance.

Jason Lee Rhyno is a Hamilton-based artist who works primarily with the drawing medium. Born in Toronto, Rhyno moved to Hamilton and persued studies at the Dundas Valley School of Art. The artist reconciles various influences; his fascination with underground youth culture of the past 20 years is coupled with a love of Jenny Saville and Luc Tuymans. Rhyno’s drawings suggest a preoccupation with line and juxtaposing negative space with masses of colour. The results are sensitive and engrossing portraits that challenge the viewer to find balance within a dense, heavily worked surface. Rhyno has collaborated with Independent American, filmmaker Cam Archer and has been featured in publications such as ‘Celery’ and ‘RaiseUp’.

teri donovan

{TERI DONOVAN ANSWERS OUR QUESTIONS}

What medium(s) do you work in? and why is this your preferred medium?
I used to use encaustic exclusively. I loved its flexibility. It allowed me to achieve a variety of surfaces from translucent and smooth as glass to opaque and highly textured. The fact that the paint dried as soon as it was applied to the support was a wonderful benefit. It meant I could paint my next layer immediately rather than waiting for paint to dry. And, in spite of the instant drying time, I could move paint around as much as I wanted by re-heating it with an electric heat gun. Another great thing about encaustic was that I could remove areas that didn't work, simply by heating them up and scraping them away.
As time went on, I became more interested in incorporating mixed media with encaustic. Once again, I was thrilled with the range of possibilities this opened up. Wax is a fabulous adhesive, so it allowed me to add numerous materials and media to what I was doing. In the last few years, I've been combining pencil, mylar, japanese papers, wallpapers, vellum, watercolour, watercolour pencils, oil, oil stick, pastels, and photoshoped digital prints with encaustic. The possibilities are practically endless.

Any wisdom you’d like to share about living as an artist?
Keep at it! Don't give up, but don't expect to make a living from your work. Very, very few people do. Prepare yourself for a long struggle, and organize your life to work at a paying job that will allow you to earn enough to live on, while also giving you the time you need to pursue your passion. This is easier said than done. Secondly, get involved with an artist-run gallery. This is a great way to meet fellow artists who can relate to you and be a supportive community. It's also provides an inroad to making valuable professional connections and is a fantastic resource when you need information about how to do something, or where to source materials or services.

Can you describe what your best learning experience as an artist has been and how you grew from it?
I think my best learning experience came from a mixed media class I took a few years ago. The instructor's way of doing things was diametrically opposed to what I had become accustomed to, and it forced me to re-orient my way of thinking and working. As a result, my work became less dogmatic, more spontaneous, and more open to experimentation.

Artists have to be creators, technicians and entrepreneurs …. What wisdom have you learned about the “business” of art that would help young developing artists to have more success in this area.
This is a tough area for me. Some artists are very outgoing, and fearless when it comes to promoting themselves. I, however tend to be more reticent. I used to think that if the work was good enough, the rest would take care of itself. I was wrong. I would advise young artists to get their feet wet, so to speak, by entering group and juried shows, but to do so strategically. Enter ones that have the potential of advancing your career. This will provide some experience in making submissions and showing work.
I would follow that by applying to artist-run spaces, and submitting to calls from regional and commercial galleries. I recently had a solo show at the Glenhyrst Gallery of Brant, in part because I had submitted work for a group show at another gallery that was juried by Glenhyrst's curator. Also, I would advise artists to send notices of their shows, even group shows, to all their local papers, post them on Facebook and Twitter, send them to Instant Coffee, Eye, and Now Magazine, as well as to curators, art critics, and other artists. It's important that a young artist does everything possible to make sure that people know about his/her work. I once ended up with a review by approaching a critic I saw at an opening, and asking him if I could email some information about my upcoming show. In other words, don't wait to be discovered. Take steps to make sure you are known. Also, be friendly, courteous, and decent to everyone you meet. You just never know where it might lead.
Something else that's very important, is to make sure you can say something about your work when people ask, even if it's only a few words. Be prepared with a simple and clear synopsis of what you do. Don't hem and haw and stumble your way through a disjointed explanation. Gallerists, critics, and curators expect artists to be articulate.
When making submissions, do something to make yours stand out from the rest. One artist I know of put his slides ( it would be a CD, or DVD now) in a beautiful box he had made along with a pair of white gloves. He got noticed and was taken on by the gallery. Lastly, subscribe to Akimbo, e-flux, and instant coffee to see calls for submissions, and to get a sense of what's going on in the art world locally and internationally. And remember, an overnight success may take ten years of preparation.

What component of the creative process do you find most appealing? and what part of the process makes you want to continue making art?
When I get an idea for something to do, and begin to envision it and figure out how to bring it into being, I get excited about the possibilities, and very keen to see what the thing will actually look like. Once I start working, the most appealing thing is to see what happens when idea meets material. The idea is only the starting point. The materials themselves impose their will, and demand a dialogue. The work becomes a conversation, and sometimes a tussle between what I want to do, what the materials will allow, and what comes through my hand that wasn't consciously planned. The real appeal is to see how the work morphs, and develops, and acquires a certain embodied energy. The most important thing is not to kill that energy, but to retain that spark that seems to happen magically when elements coalesce. It's a thrill to see it happen, and it's what makes the process exciting.

Teri Donovan is a Canadian artist based in Toronto. Her practice incorporates a variety of drawing and painting media in combination with encaustic and collage. She is interested in everyday paradoxes that shape awareness, thoughts, and behaviours, and her work explores themes related to perception and memory, and the impact of time on identity and the human condition.

She was born in Paris, Ontario and grew up in Toronto where she attended York University, and the University of Toronto. She also studied at the Ontario College of Art, Toronto School of Art, and The Maryland Institute, College of Art in Baltimore. Currently, Teri Donovan is represented by The Red Head Gallery.

Recent exhibitions include: "Half-Life", at Hamilton Artists Inc., July 1- Aug. 14, "Time Shadow and Light", at The Glenhyrst Art Gallery of Brant, Apr. 27 - May 16, 2010, "Always, Once & Again", at Propeller Centre for the Visual Arts, June 10 - 21, 2009, and “Coming Home”, at Terminal 1, GTAA from Sept. 13, 2008 - Jan. 25, 2009.

Teri Donovan's work was also featured in Carte Blanche Vol.2: Painting, a survey of contemporary painting in Canada, published in 2008.

HER SHOW AT HAMILTON ARTISTS INC. IS STILL VIEWABLE UNTIL AUGUST 14TH, 2010


teri donovan
published with permission