Interview with  
​Editor Ann Grahm

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When did you, how did you and why did you start your art practice?

Although I began my training at a very early age, my practice as an artist has had two lives. I first began as a studio artist with the responsibility of recreating life and movement with inanimate objects.  Through the observation of reality, I became a lover of Photorealism, which has given substance to my art career’s second life.
 
The name Photorealism was coined in reference to those artists whose work depended heavily on photographs, which they often projected onto canvas allowing images to be replicated with precision and accuracy. Flourishing during the 1970s, Photorealism complicates the notion of realism by successfully mixing together that which is real with that which is unreal. For this I am deeply drawn to its ability to display an image on the canvas that is recognizable and carefully delineated to suggest that it is accurate based upon photographs rather than direct observation. Therefore, remaining distanced from reality factually and metaphorically. Although I do record observations of behavior and environments, my goal is to produce pieces that have a voice and emotion unique to only each piece as art and becomes communicative of social criticism or commentary.

Since the advent of photography in the early 19th-century artists have used the camera as a tool in capturing images. Artists, even today, would never reveal their dependency on photographs as to do so was seen as "cheating". In contrast, I acknowledge the  production and proliferation of photographs, and I do not deny that I rely on them to assist me in producing a piece. In creating. I attempt to identify the affects of photography, rather than the vision of the eye, such as blurriness and multiple-viewpoints, to favor the aesthetic and look. So, while the results is realistic, it is simultaneously one step away from reality by its dependence. I do this with the complete understanding that my works question traditional artistic methods, as well as the differences between reality and artificiality while successfully uniting color and light together as one element.
 

How would you describe the art scene in your area?

Unfortunately, the art scene in Houston is quite fickle and trendy.  It has an air of snobbery that makes an emerging artist’s attempt at becoming known and favored very difficult.  Art as a whole is rooted in cultural diversities but seems disjointed at times.  With my grounded sense of reality, I feel that, for the moment, there is no place for me, but I have a voice that will one day be heard.
 
 

In your opinion, what role does the artist have in society?

Art plays many roles in society and, at different times, can speak to issues in areas such as religion, science, politics, and history. No mater what arena, art can provide thought-provoking commentary and innovative perspectives on a vast array of ideas. People often forget the significance of art in the discourse of social, cultural, and global concerns. Art clearly has the power to spark ideas and challenge prevailing opinions. The artist becomes the point of delivery.
 

What do you like/dislike about the art world?

I hate that which looks as though my Chihuahua painted it.  And I hate even more so that the artist is receiving a great deal of notoriety.  I hate that I have worked to create while at the same time market my art and skill only to be passed over by something that makes no sense.  I hate the obvious subjectivity of the nature of judging and the “brown nosing” in order for a gallery to even consider you.
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I like that it has a voice and an opinion.

Name three artists you’d like to be compared to.

​I have been thinking about some of the great artists over the past couple of days in response to this question. I consider Edgar Degas to be the greatest pastelist of all time and being a pastelist myself I thought I would start with him. 

Degas required a medium lending itself to precision line-work as do I. Although he took part in the Impressionist exhibitions, he felt he had little in common with that group of artists. I have attempted my own version of “impressionism” but it does not feel comfortable, so I can relate to this. He preferred working in his studio rather than plein air, something else we have in common. The originality of his work was his ability to solve problems of form and movement and he made numerous studies to work out original compositions and color harmonies in his studio. I work to do the same type studies with the aide of a camera. A notable similarity purely by accident is cutting the picture off unexpectedly. Degas’ works gained a more convincing effect of reality with a scanting line of sight that led the eye up or down into the composition.  I work to do the same by uniquely cropping to gain the same type of visual effect. The impression of depth is thereby sharpened and takes on an accent of reality. We share the same sense of “blocking”; he with his charcoal stick and I with my bunt stick dipped in remnants of color. He applied his pastels, working back over the layer by scoring it with successive hatchings. Doing this several times, running strokes together and juxtaposing them so as to get a whole mosaic of interwoven tones. And although I do not use a hatch mark, I begin with a single layer and build on it each time in order to transform the painting surface into a haze of color vibrations.

As a photorealist, I would love to be compared to Audrey Flack. Audrey Flack is an American painter, printmaker, and sculptor, who is widely regarded for her innovative contributions to the Photorealist and feminist movements of the late twentieth century. While her early work included abstract motifs, Flack achieved international recognition for her incredibly detailed paintings of still-life compositions and her monumental sculptures of mythical and divine female figures. A great deal of my work involves women, which I believe reflects my grounded sense of strength in the eloquence of the female gender. As they have always said, "behind every great man is an even greater woman." For God placed upon women the responsibilities of compassion, inspiration and support. And I find that women are better in recognizing expression of emotions, the very thing I am hoping to invoke.  In her later years, Audrey drew upon the strengths of women as well and developed a true visual on the empowerment of such.
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Finally in regards to the contemporary use of soft pastels, I would like to be compared to Mark Leach.  Although I am very much a realist in comparison to his abstract views, his use of color to convey emotional responses is the very same goal I have in my work. In fact, all three of my choices had the same goal. Provide an emotional journey for every viewer.

​What’s the best art tip you’ve ever received?

Degas once said,” It’s not what you see but, what you make others see.”  A very good friend recently told me that the most important thing I can do is be true to myself in my art.  To make sure that above all else, my voice is heard over the judgment of others who feel that art should be traditional in how it is created.  

I also have to remember that just because someone or some gallery tells me "NO", it does not mean that I cannot do it; it just means that I am not going to do it with them.

What are your future plans as an artist?

​I currently have a three year plan toward full retirement as a mental health physician to becoming a full time artist.  I have many things on my “bucket list”, one of which was to have a solo show in a gallery. As of February of 2017 it seems I will have the opportunity to cross this off my list.  I have a goal of winning the Hunting Art Prize, as well as, the Bown Project Prize.  I have very high expectations for myself but will follow the path that God lays before me.  Upon retirement, I would like to have my own studio gallery where I can support emerging artists; in particular, those who have overcome a difficult mental/emotional trauma through the use of art as therapy.

Summer Issue 2016 Released in July