Amartya De

Interview with Amartya De

How did you start making art?

! have a memory, of a pile scrap on the terrace (rooftop) of the apartment building I grew up in Kolkata. There was some scrap metal, probably refuse from a construction project somewhere in the building. It wasn’t a very large building and the scrap was modest in size, possibly window material. I remember arranging it, moving it around possibly afraid there would be wasps nests or such hidden beneath the mass. After it was done, I wondered at first perhaps I could have my model car run on it and the realization that it had no specific utilitarian purpose. A thought occurred, perhaps this was art? 

When did you realize creating art would be a significant part of your life?

I had become a photographer over time, but it had always been a medium that I felt a sense of capturing a moment, geometry or form. One day I was watching videos on YouTube, I think Jeff Wall was on, slowly looking around the books in my room or the subjects I was interested in, I realized photography could be a mean to study and visually depict anything at all allegorical, literal, imaginative and the simplicity felt appropriate. 

Tell us about your favorite medium to work in and why?

I like the book format, it feels like it can be a mini exhibition. However I am enamored by the beauty of a large photographic print. While the print is ultimately beautiful and suffices as a window or an object. My interest in social interactions and relational aesthetics through photography or video is a matter of scale and illusion one which can sometimes use all the visual aids technology can muster while preserving its timeless quality. 

How do you start a new work?

I begin with an idea but also a desire to explore how my sight can be transformed through stillness through something that has a quality of tension or relaxation, a sense of a heightened relational association between things, that a viewpoint allows. 

Tell us about three artists that have been influential for you 

Jeff Wall, Walker Evans, Dayanita Singh 

How has your style and practice changed over time. Describe your dream project.

I've become more sure of my position and am more precious with time and materials. I think with that surety comes a relaxation over subject matter through a strong hand. I control what’s in front of my camera less directly while concerning myself with depth and how close or far I stand. 

Why is art important?

Art sets you free, if you let it. Materials are not as important…..use anything as long as you can speak. 

Describe your dream project.

My dream project would be to make pictures freely with an understanding and trust that it would be visually interesting, id like to work in a large building one with many rooms, halls and a communal sense of sorts, one where its night and day at the same time, a library and a performance space of sorts. If this did not exist I would have to create it, through images made all over the land. 

What book do you think everyone should read? Why?

I'm very basic when it comes to literature, I think reading the Fountainhead, The lord of the Rings, Harry Potter or the Odyssey serves the same purpose. I am grateful the made us read Pather Panchali (tales of the road) in school and Shakespeare. I would read stories based on truth from another time, to make us walk a while in another persons shoes. 

What is your best studio habit? What is your worst? 

If I am able to work fast and with attention I can get to a point where prints or sequences and ideas flow freely. I find it difficult to sustain that over a long period of time, I am learning to be better motivated and more disciplined, by being less intense in short bursts, considering how good a long sustained effort based on good habits feel. I love the ability to be attentive and use four hours in a darkroom productively, while on other days a day would result the same result if one does not feel sure. 

What is the best advice you have received in your career? 

Patience is a virtue .

Soule Golden

Interview with Soule Golden

How did you get started working in costume design?
My best friend’s mom taught us how to sew on patterns like Butterick and McCall’s when I was 11.  She refused to be paid for the lessons and my mom brought her a bag of groceries instead.  We soon found out with our skills we could dress however we wanted with our new sewing skills—for me it was like Claire Danes from My So Called Life, lol.  I didn’t know that costume design was a job until I broke my foot running track at Cornell and then started working in the costume shop.  There was so much talent there and the Costume Shop Manager at Cornell, Richard MacPike, encouraged me to apply to the Santa Fe Opera, where I met other folks in the theater production and design discipline.

How do you start a design project?
I like to ground myself in whatever the “world” of the piece is.  For example 1960s New Orleans, 18th century France, or the zombie apocalypse.  I collect images and read articles and books related to the images.  If a piece is musical, I let the music guide the mood of the visuals.

What has been your biggest influence thus far in how you work?
I read a lot and widely.  I also love being in nature and working collaboratively. 

What is the difference between making work for a comedy vs drama? Do you have a preference?
When you’re making comedy you’re trying to elicit laughter.  In drama it’s a mixed bag.  I suppose I prefer comedy because comedians make me laugh (the good ones).

What is the most challenging part of putting a costume/wardrobe collection together for a play?
The most challenging part is that often non-profit producers don’t  realize the complexity of the work.  With a more supported large production, costume designers are managing a crew, sourcing material, and working with directors, managers, producers, performers, other designers, etc.  they are often having intimate conversations with performers about the width of their feet or their wool allergy.  A director is often incredibly busy and keeping in touch is essential to a fruitful collaboration. 

Do you think a costume can stand on its own or, since you are always working with a play- is the story really essential to the success of the costume and vice versa?
A costume can be appreciated in its own right.  The craftsmanship on some Broadway and Ballet costumes, sometimes engaging dozens of artists, can be breathtaking.  From embroidery, beading, hand painting, draping, patter making and beyond, life-long, dedicated artisans produce work for performers in which to dance, sweat, sing, cry, fight, and wail.  In a successful production, all collaborators care about elements and hope for the best success of the entire production.

What has been the biggest shift, if any, in costume design you have seen since you started? Personally or as an industry.

Covid, parenthood, and Black Lives Matter.

Do you ever find yourself in awe of how outfits are made or do you just see things differently now because you know the world of pattern construction so well?
I still really appreciate the work of other artisans.

Do you ever notice that your costumes complete the plays you work on? For example, I am sure that you see the performers rehearse, are privy to their struggles with scenes etc. But with costumes, do you find that it just helps them with their final ‘click’ into character?
Yes.

What would your dream project be?
I have a lot of dream projects and dream collaborators, but I’ll name three:  A completely post consumer outdoor production-with all my favorite musicians and performers, outside in spring.  A big budget period film or streaming series like Bridgerton.  An experimental film/performance piece in the vein of what Robin Wall Kimmerer does with her students in Braiding Sweetgrass, where everyone goes into the forest and crafts their own clothes.

A sample of Soule Golden’s work.

Rebekah Church

What age were you when you started making comics?

I started creating comics at 15 when my art teacher handed me a Daredevil comic issue. I love hand drawing my art and wanted to originally become an animator. However, it seemed animated movies were moving more toward computers and further away from traditional pencil and paints. That’s when I was drawn toward comics where a lot of the penciling and inking is done by hand.

What draws you to storytelling with mythical creatures?

Creature designing and fantasy stories have always interested me. I felt combining the two would bring me more joy and excitement when tackling my projects.

Which happens first when starting a new comic, the character or the story?

This happens both ways for me as a storyteller and artist. Creative ideas can either take a quick moment or years of processing for me to decide on starting a new comic. I feel character(s) tend to come first in those quick moments verses stories that come from situations I’m exposed to for a certain amount of time. I’ve learned both the character and story go hand-in-hand.

What is your editing process like? For example, do you ever reach a point in a story and realize the character needs to be drawn in a different way?

A great example of this is would be from my original comic book Prodelle! My main character Macurey lives on the fictional planet called Prodelle. I created her all the way back in elementary school and, throughout my life, kept rebuilding upon her design and character. As for designing a character/creature that lives on Prodelle, I think of the different areas and who might be best suitable for living there. For example, I felt dragons and reptilian like-characters would best thrive in a hotter environment like the Fire Homeland.

What illustrators have been most inspiring to you?

Walt Disney, Chuck Jones, Ken Sugimori, David Peterson, and Patrick Spaziante.

What other influences are important to your craft?

Being outdoors, exploring, and living life is an important factor in my craft. I feel it provides me with the energy and spirit I need to create my artworks. A lot of my colors are inspired by plants and natural landscapes. My colors can range from soft purples of lavender to strong reds of desert mountains.

What are your favorite mediums to work with? Why?

My favorite mediums are pencils, inks, and acrylic paints. I feel penciling is where it all starts first and inking in black-and-white gives a strong and finished look. For acrylic paint, I feel the color captures both the mood and energy of my artworks.

When making a portrait of a pet or person, do you imagine stories about them while working?

Yes! My goal is to capture the essence of the animal or person that I’m creating a portrait of. As a storyteller, I try to imagine scenarios to bring out their inner qualities and characteristics that makes them individuals. My main focus is getting the eyes of the animal or person just right. I’m a believer that eyes are the reflection of an individual’s spirit.

What is the best advice you have received so far in your career?

Keep focusing on reaching your goals and remember to always create art for yourself firstly. There will be critics and subjective opinions at times toward artists’ works. However, I believe every artist has an idea or message they’re trying to tell the world visually through their pieces. I feel being open-minded to new ideas and suggestions is important for every artist, but I feel they should still retain their envisions. Also, both experience and time are important when learning of the art field. I try to meet many different artists and to get involved with the art community. These are the things I’ve learned so far as an artist.

If you could only look at one piece of art for the rest of your life, which one would it be?

To be honest, that would be impossible for me to answer! If I were to decide a single style of painting and artist, it would be Impressionistic paintings by Claude Monet. I love the idea of painting on the spot and capturing nature and life in their current moments. I do art field studies at times whether on hikes, at the beach, or sitting in the park. I’m drawn to Monet’s experimental brushstrokes and colors as they give off a sense of adventure and exploration.

Daniel Recinos

Daniel Recinos: My First Time Painting

How did you start making art? 

I started with music when I was 8. That was when I wrote my first song. As for painting, I'd say last year. I got a lot of help from all other artists at Metro Art Studios in Bridgeport. Its been a blessing to interact and learn from so many talented artists.

When did you realize creating art would be a significant part of your life?

Honestly, when I started making music. I knew I was supposed to be creative. I still dont call myself an artist though. I just like to make things and share them. Any medium, any time.

Tell us about your favorite medium to work in and why.

As of right now it's photography. I love being able to capture a moment and then go back to it. I can share these moments with others that either want to go back to it or weren't there in the first place.

How do you start a new work?

It's different every time. For example with the "Waves" piece I knew I wanted something neon. I love the bright colors and I tried it and it worked! But with others it can start with a story. WIth music I usually know what to play before I play it. Its all different.

Tell us about three artists that have been influential for you.

First one is Kanye West. Say what you want but that man is fear less creatively. Mixing genres, going into fashion and even painting. Has a vision, makes it happen and puts it out. Second is KAWS. I love his colors, his homage to cartoon characters. Third is Jim Henson. Jim has been an inspiration to me for a long time. Hes created worlds, characters, personalities, etc. I love when artists don't try to be cool. They just create and that makes them awesome.

How has your style and practice changed over time?

It changes constantly. haha! I know it irritates people but whatever. I have a visions and I want do everything.  I went from music, to video, to photo and now painting.

Describe your dream project.

I want to color a city. I have a plan for a city that looks like another planet. cars, roads, trees, etc. I can't wait.

Why is art important?

Art is a way to push the economy forward. Everything has either design, sound, texture, patterns, etc. God made this world and its all art. Everything works together. Its beautiful

Describe your favorite piece of art you've created.

I LOVE a song I co-wrote called "Dear Bridgeport" I produced it and wrote the Chorus. My brother was the rapper. It shows you what it was like of rus growing up in Bridgeport. 

What is your best studio habit? Your worst?

OH man! I best studio habit is laying flat on the floor. I love it. It's like a mini vacation. MY worst is my mini vacations turning into long vacations. HAH!

Vera Wu

Image Courtesy of The Table & Gallery

How did you start making art? 

It all begins with a little thinking, but let's be real, instinct is my co-pilot. I dive into   Photoshop wizardry with the photos I've captured, wielding my brushes like digital wands. Nailing realism?  Consider it my art superpower. However, I soon realized that painting like a photo is far from being enough to be a real artist. So, I began to seek my own art language.

When did you realize creating art would be a significant part of your life?

Painting was my hobby; I started drawing when I was 4. The significance of art didn't hit me until I transformed it into my career. The passion for this challenging craft grew, and I began to take it seriously—it turned into an artistic Everest rather than a leisurely stroll in Zion.

 Tell us about your favorite medium to work in and why.

My favorite medium is oil painting. Compared to ink painting, it's a breeze to frame, hang up, and display. Plus, the infinite variations it offers allow me to create unique brushstrokes that add that extra touch of magic.

 How do you start a new work?

It depends on the painting at hand. For a still life, I begin by observing lights, colors, and composition. When tackling non-representational pieces, I opt for an unconstrained freehand drawing, adding details based on my experience and knowledge.

 Tell us about three artists that have been influential for you.

Giuseppe Castiglione, Antonio Lopez Garcia, and Rembrandt

 How has your style and practice changed over time?

In the first two years of my painting journey, I was laser-focused on honing my skills. I pursued art after graduating from filmmaking. I found immense joy in creating timeless pieces. As I delved into various styles, I noticed a plethora of influences from the masterpieces. Through this exploration, I came to the realization that I shouldn't be chasing a specific niche. Instead, hard work, practicing consistently, inspiration, and style would naturally find their way to me. I avoid restricting my work into any "ism"; I aim to convey my spirit through the language of my painting.

 Describe your dream project.

I'd love to craft a plant oil painting on silk. Picture this: the play of light turning it into a dynamic image on the wall. And to add a touch of nature's whimsy, imagine a gentle breeze causing the silk to sway ever so slightly. It's not just a painting; it's a living, breathing work of art.

 Why is art important?

Art is a way to empathy, a bridge that connects us to the human experience. It helping us navigate the intricacies of our lives, culture, and history. Through art,  we immerse ourselves in the emotions, stories, and perspectives of others. It's a profound journey that fosters understanding and a shared sense of humanity.

 What is your best studio habit? Your worst?

My best studio habit is that I like to clean up my studio once I've finished a piece. It helps me refresh my mind and cheers me up to work on the next one. It's not only an exercise but also a break.

 Do your other interests influence your art and how do they interplay?

Yes! I adore travel and outdoor adventures. Exploring different countries and various experiences, like scuba diving, skydiving, snowboarding, equestrian activities, continually provide me with elements to incorporate into my works

Kit Young

Kit Young: Ephemeral Machines, Transient Humans

How did you start making art? 

My parents gave my brother and I art material, blocks, and simply let us play.

When did you realize creating art would be a significant part of your life? 

Again, I have my parents to thank. They placed a very high value on creativity and made art part of our daily lives. From an early age I felt autonomous in my creative decision making so art became my safe haven.

Tell us about your favorite medium to work in and why. 

Video has been my primary medium for many years. I remember reacting very negatively to commercial media; TV, radio, printed material, (before the internet), and thinking that there must be a way to make it more personalized and fun instead of designing it to brainwash the public into buying things. Hand made slides and Sony Camcorders were my gateway into hacking media.

How do you start a new work? 

One of my favorite places to start is by collecting short video clips of things I see and hear on walks and hikes around town or in the woods. 20 years ago I never would have guessed that I would have a tiny video camera in my pocket at all times!

Tell us about three artists that have been influential for you.

I’ll name my contemporaries, artists that I have collaborated with, that inspire me and that I learn from. Allen Moore, a sound artist from Chicago, presses his own records out of graphite or dirt from his mom’s back yard and DJs with them. Cristal Sabbagh, a dancer who uses the intense Japanese form of Butoh to explore Black experience in American society. Lori Varga, a collector of archaic media who paints and scratches directly on to 16mm film.

How has your style and practice changed over time? 

My practice is becoming more performative, improvisational, and collaborative as it goes on.

Describe your dream project. 

We saw the composer Tyshawn Sorey’s piece Monochromatic Light at the Park Avenue Armory last year. This production, directed by Peter Sellars, is a multimedia work that uses dance, paintings by Julie Mehretu, and projected light. As I watched the performance I immediately started adapting the production to my work; to make the paintings and projected light animated and interactive with the movement of the dancers and with the sound.

Why is art important? 

Any practice that centers creative exploration is necessary for our survival. The artistic disciplines open our minds, increase our empathy, and make us a more flexible species. The commodification of art seems to do the opposite.

What book do you think everyone should read? Why? 

I’ll just list some favorites. Parable of The Sower by Octavia Butler, Beyond Words by Carl Safina, Staying With the Trouble by Donna Haraway, Horizon by Barry Lopez, How to Be an Anticapitalist in the Twenty-First Century by Eric Olin Wright, Talking Back by bell hooks...this is the tip of the berg....

What is your best studio habit? Your worst? 

My best is arranging my schedule so that I can stay in the studio and loose track of time completely. The worst is not getting into the studio when I have a smaller amount of time; giving in to the feeling that it’s not worth it.