Elektra Steel featured at LOCZIdesign 2017 Holiday Party & Bazaar. Happening December 7th 6-9pm at LOCZIdesign studios 175 De Haro St, San Francisco CA 94103
LOCZIdesign continues it's series celebrating the art of craft as guest blogger Hilary Perr features Kris Marubayashi's work. She was one of select artisans recently featured as part of American Craft Council's 75th Anniversary celebration.
LOCZIdesign celebrates the art of craft as guest blogger Hilary Perr writes about Sandra Enterline's work incorporating an architectural approach to materials and form. Her work was one of select artisans recently featured as part of American Craft Council's 75th Anniversary celebration.
Jessica Mi Hyeon Yoo is the owner and principal designer of Design Meem. Her Jogakbo works are ethereal vessels through time. Born and raised in Korea, Jessica attended Hong Ik University, majoring in visual communication design. Since her early years of art education, she had been thoroughly interested in fiber/fabric art.
Recently featured in Vogue's Heirlooms of Tomorrow: Ten Contemporary Designers to Collect Today, Australian-born Mary Wallis' interpretation of lighting design comes from a diverse background in genetics, traditional Chinese painting, and manifesting one's path.
“I think how we view the world impacts everything around us. My goal is to share the spectacular in the everyday. The simple, direct approach often tells a profound story.” - Gus Harper
WOOL IS STRONG. It is often said that a single wool fiber is stronger than steel of the same diameter. Wool happens to be the material Meghan Urback uses to create pieces of texture, warmth, and art.
Tahiti is the largest island in the Windward group of French Polynesia. It is also the name of an artist who uses number 11 blades to create cut-out kaleidoscope works of magic. He has been doing so for nearly 15 years. We had the chance to chat with Tahiti Pehrson about his work and how he was born to be an artist.
Where are you from?
"I am from Nevada City, California. I lived in the Bay Area for about ten years or so and decided to move back."
What’s your background?
"My parents are both artists and my dad was an art teacher. He went to California College of the Arts back in the late 50’s/early 60’s. My parents were the bohemian type so I lived without a television until I was about ten-years-old... I had a lot free time and art was always around in the house. But I didn't end up going to the San Francisco Art Institute until I was in my 30’s.
What’s your process like?
"These days I work so much—it’s crazy. I just finished two months of 16 hours days. The work in Vineet's remodel [pictured above] is a 4' x 10' piece, so it took a lot of long hour days to complete. The work that I've been doing lately is based on a fairly old type of Geo pattern; the kind you see on money. So a lot of my work is around that concept. And it seems like the piece worked really well in his place. I actually ended up working up with Vineet through Aimee Friberg, the curator at K. Imperial Fine Art. It was a great match and worked out really well. "
How would you say your artistic style has evolved?
"I always painted, growing up as a kid, and even throughout my 20’s. I was also into skateboarding and most of my friends were professional skateboarders. So it was only natural that I ended up doing a lot of skateboard graphics.
While traveling in Europe I went to several squatter-type art galleries in Berlin and in Geneva. All the energy there was really inspiring. But I never felt that kind of energy in school. Painting [at the time] seemed so flat and antiquated. I wanted something more. So I started doing street art in San Francisco and it was more exciting and invigorating. The exploration was a lot of fun and I started doing stencils and then grew from there. I found that the stencils were so beautiful all white. And here I am now—been doing this for 15 years."
What does being an artist mean to you?
"Being an artist means having the abilities to explore your ideas. It means that you can work one day, or have the day off, or just really be in the zone for hours on end. For me, the biggest and greatest thing is just being at home. It’s amazing—being an artist and getting to do what I want to do. But there was a time where I didn't think I would be able to actually do that. Now that I have a six-year-old daughter, being home with my child means a lot. So structurally, to be able to be with her and involved with work is perfect. But the structure of the [traditional] workforce gives me anxiety so it's nice to not be around that."
What’s the most memorable reaction from your work?
"People generally react positively. And although I appreciate kind words, I feel like I’m my worst critic so it's important for me to keep a level head about it. Having art shows are kind of like your birthday so it feels very congratulatory. But it's nice that my art appeals to a lot of people. Someone might like it and their mother might also like it as well! Some people respond by saying, 'I want to be inside of that'. I like that idea. Reactions like that help me move into other directions and evolve. I want people to feel like they are a part of my art."
What would be your ideal project?
"I would like to do something in the public works and public arena. I've applied to the San Francisco Arts Commission - Public Art and Collection... I’d like to try something that’s more permanent and large scale—so that people can interact with it. It seems like a good idea since my pieces have that universal element that is both seen as spiritual and scientific. It's the kind of art that is open to everyone’s interpretation. You start as a young artist telling your own story and then it comes to a point where you want to engage with your audience through your work."
If not an artist, what would you be?
"I have worked terrible jobs before, just to get by. But I was always still producing art. I feel like there’s no other option for me than to be doing what I'm doing now. I feel like there’s no other way. There was a point of time in my life where I felt like I had to either stop doing art, or do it for real. You have to set up your life so that there's no other option. I just decided to go for the work ethic. And that's how I'm where I'm at today.
...You know how people say, 'Live everyday like it's your last'. Well, I really feel that way. If this were the last day of my life, I wouldn't do anything else than what I'm doing now."
If you'd like to see Tahiti's work in person, his show Active Synchrony goes on from January 4th - March 10th in the Thacher Gallery at USF. It features his large scale hand-cut paper pieces and installations that have also been featured in San Francisco Magazine Modern Luxury's March fashion issue!
In the spring/early summer he will be having a solo exhibit at K. Imperial Fine Art in San Francisco from June 5th through July 15th. Too, if you're in the Washington State area, his group show titled Love Me Tender is currently at the Bellevue Museum of Art.
"Mostly what I want to create is something very interesting for eyeballs, it’s more visual than anything—a visual experience."
Gina Borg's work is included in numerous private collections as well as the collection of the Alameda County Arts Commission. Born in Sacramento, California, Borg attended the MFA program in painting at Boston University and received her BA from the University of California, Santa Cruz. Last night we had a pleasant early evening chat on the phone while she took a break from packing for a cross-town move.
Gina, would you like to introduce yourself?
"I am Gina Borg, an Oakland-based painter and I make paintings that primarily relate to color relationship, light and incremental change. Usually in my paintings there are many nuances which relate to only a few colors. These color relationships excite me the most— the tiny incremental shifts of each color."
What does being an artist mean to you?
"Being an artist (if you have the discipline to maintain a regular practice) [creates] an opportunity to playfully utilize your brain in ways that don't often get used. It takes a lot of discipline to make that space, but it's a special relationship needed to cultivate your art. For me, it's not just that you’re inspired all the time and that art is just coming out of you. You have to work hard to maintain that discipline and that practice."
What kind of creative patterns, routines or rituals do you have?
"I wouldn't say I have a ritual or routine, I would say that I have to make a living. I’ve crafted my work life to have enough practical time to create art. I am an on-call as-needed museum worker. Any day I have off working for money, I paint—unless there’s something really fun going on, I'll do that instead every once and a while. But by default, anytime I’m not working I’m painting. It’s not a ritual but by a way of making money. I work at home so it’s difficult because there’s always e-mail and the telephones and Wikipedia. There are a million ways to waste time. I [have] to shut down my internet browser, make a cup of coffee and work. What I like to do is put on a podcast—I know it will be a solid hour to work all the way through without any distractions. Because a lot of my art process is similar to brick-laying (though it certainly does require me to focus), at a certain point my eyes can make the decision for me. I like listening to music too. I will say that another element that really keeps me from procrastination is that when I'm painting with oil, I do need natural light. In order to see the color relationships I need to use the daylight while I have it. When the sun goes down the color relations get wonky."
Does the interior of your studio tell a story about the kind of artist you are?
"Well, at this point, I’m working in my living room. Stepping into my home is like stepping into my studio. I try to be orderly about my supplies, materials and storage. But beyond that, my living space is my workspace. It’s designed more for working and not for entertaining. I am looking forward to trying to separate the two. It makes me excited to move into my new place—to have a backyard and a garden again."
How important is your workspace to you?
"It is fundamental, it’s kind of the most important space in my life."
Your solo show at K. Imperial Gallery titled, Elements of Day seemed to have translated directly each of your pieces—especially your work “Cinema”. What are you trying to communicate with your art?
"I think that I’m trying to make a space where you can slow down and notice subtle things, and notice other relationships and how incremental change multiplied can create dramatic change. Some of my paintings move from dark to light and they do it in tiny baby steps. Over a larger area that eventually completely transforms. To sort of sum it up: I want to create a space that if someone wants to, they can quiet their mind and think about movement, growth, and change. Mostly what I want to create is something very interesting for eyeballs, it’s more visual than anything—a visual experience."
Are there any creative mediums you haven’t pursued yet but would like to try?
"I would love to get into more lithography. I tried it in college and really want to get back in to it. It’s a very interesting medium and it can be very painterly. I’m drawn to it a lot because you can essentially paint on stone and all of the subtle nuances are quite beautiful. You can sort of paint with transparent paint and water color and I would just love to do a ton of that."
Thinking Like The Universe, Gina's upcoming exhibit opens on January 10th, 2013. It brings two galleries and two cities into conversation: K. Imperial Fine Art in San Francisco and Hatch Gallery in Oakland curated by Aimee Friberg. Thinking Like The Universe runs at K. Imperial Fine Art from January 10th through February 2nd, 2013. The opening reception will be Thursday, January 10th from 5 - 7:30 pm. The exhibit runs at Hatch Gallery from January 18th through February 23rd, with an opening reception on Friday, January 18th from 7-9pm.
LOCZIdesign often talks about 'creating spaces that balance and inspire'- Laying on the floor of the 'Forest' was like receiving a giant hug from the Great Mother herself. The echoing tunes of Robot Heart bellowing in the background set the tone for my favorite art installation from this year's Burning Man. A long-time believer and contributor to the festival that stretches the body, mind and soul, I returned to the desert after a 5-year hiatus only to find her teeming with fresh energy and brilliance. Enraptured by the sheer size, I stood agape at the enormity of it all — 60,000 people in a temporary city is immense. Poised in the distance stood sturdy lacquered walls, all white and
glistening, to welcome me HOME. Within its chambers the world outside slowed, embracing all who entered. The gentle touch of the leaves calmed my spirit and focused my mind. It was a place to rest and watch the sky roll by and it was indeed a magical space- built with great artistry and even greater love. I was so taken by the sculpture and its effects, that I had to meet the mind behind this wondrous creation and share with all of you.
My friend Lisa, who had been one of the tireless crew working 10+hour days, introduced me to its visionary creator, Phoenix. His generosity and clarity are noted from his interview with Mennlay
"It’s very large. We built a large scale forest in Brooklyn this past summer (above) to test out how it would work and to raise funds. It was 1,000 square feet. The one in the Burning Man 'Desert Forest' was 2,000 sq/ft. The original was only 50 square feet. Our kick-starter website for the project explains exactly what the forest experiment was...I used to design furniture and in the past two years I’ve been building the prototype of the forest in my friend’s basement. All of my friends thought it was so magical and encouraged me to make a larger piece."
What about art, what about your art inspires you?
"It was actually inspired by my apartment, which had no doors in it. I didn’t have enough money to build any so I hung those plastic strips— you know, much like what you would see in the freezer sections of a grocery store. I soon expanded beyond the door and into the room. It began to feel like you were swimming while being in the space. I took it from there, making it comfortable with soft faux white fur on the ground. The comfortable environment I think really transports you emotionally. You’re in this forest and it’s playful and kind of intimate. You feel enclosed and also very free. People seem to have found it very meditative. Somehow [even though you would think polyester trips are the opposite of nature], it still provokes such a nature-like and powerful reaction from people."
Is there a role in which art plays within society? What is that role— particularly with your art?
"I would say that I was always interested in the type of art that gives you a very intense experience. It is a mix of being interactive and having an entire body experience...a way to touche all of your senses. At Burning Man, I was talking to cops and they thanked me; informing me that the 'Desert Forest' was taking care of people. It seemed to have calmed them down. I noticed too that most would be chatty at the beginning and then grow quiet once in the forest. In terms of what it provides for society; it gives people a great experience."
And what about the furniture making?!
"I used to have a steel fabrication studio and would build various designs for artist and designers. It was so long ago that I don't really think about it much about it too often yet, I do want to get into building buildings and exploring architecture. Architecture also evokes experiences when done right. And I have built spaces in the past. The feeling that you get from your surroundings, it was always the part of furniture making and architecture that I have been drawn to."
How was burning man this year?
"It was all forest all the time! This is my tenth consecutive year at Burning Man and this year I didn’t party, I just spent my time at the 'Forest' and experienced it with the other people. I was perfectly happy with that. I really also want to add that there were so many people that
helped in the fundraising of the 'Forests': from DJ's, people working the door to bartenders — everyone worked really hard to give to this project. -And then, there were the crew members at BM themselves, who would push through these extreme weather conditions to build and install. We’re talking 13 hour work days — I can’t get over that kind of devotion. It’s amazing to me that so many people are attracted to it, but I’m pleasantly surprised and have the support from various people who not only want to do it next year, but also help contribute and build. The entire outcome was beyond inspiring."
Collaboration and contribution are the name of the game at Burning Man. The extremes push to you know yourself and humanity in a new way. Not unlike building a house, these large installations require intention, thorough planning, communication, skill and extreme exertion. The outcomes usually far outweigh the effort and therein lay the rewards. To read more about Phoenix and his work, you can find the info, here.