Critique Collective

Critique Collective is your source for information and interviews about emerging and established contemporary artists.

Tag: san francisco

Imaginary Creatures by Tony Papesh

Tony Papesh is a painter, illustrator, animator, and director working in San Francisco, California. Papesh’s paintings, which have been seen at the Honey Hive Gallery, are extremely playful, as he renders all kinds of odd creatures from his imagination. Papesh is an accomplished creative in a variety of fields. His animation work has been commissioned by clients such as Google, Youtube, and McAfee Antivirus. Take a look at his website to see his entire portfolio.

1


Paul Weiner:
How do you come up with the creatures in your paintings?

Tony Papesh:
I usually pull inspiration from many places, anywhere from old cartoons and video games to heavy metal music and muppets. I just try to make silly and weird creatures that are fun to look at.

Paul Weiner:
Do you have a favorite creature you have painted over the years?

Tony Papesh:
With all the creatures I paint, I tend to make up each one as I paint. I suppose I have painted many similar ones over the years but never took the time to give them names or develop them. In general, I like drawing big, furry, stupid looking creatures. They just seem more fun!

4

Paul Weiner:
What materials do you prefer to work with?

Tony Papesh:
Currently, I have been working with a lot of gouache and colored pencil on wood. I do a lot of layering with paints and colored pencil, and the wood seems to take all of the abuse I throw at it. Paper usually curls or wrinkles while traditional canvas feels too fragile.

Paul Weiner:
How do you feel about the rise of conceptual artists on the scene right now? Have you ever found yourself interested or repulsed by theoretical art?

Tony Papesh:
If an artist’s work is worth looking at, it should be seen. I suppose that is just a generic way of saying that I am not quite sure what you are referring to as I am not too hip to the scene at the moment.

2

Paul Weiner:
Does the commercial work ever affect your personal art aesthetically?

Tony Papesh:
I would have to say no. The difference between what I do as a commercial artist and my personal work is the difference between night and day. During the day, I am mimicking someone else’s art. I am moving someone else’s text or creating someone else’s ideas. It is a great way to make a living, and you work on some fun projects, but, at the end of the day, nothing excites me more than filling a canvas with my own scribbles, paint, and bad ideas.

6

Paul Weiner:
As someone who has worked in multiple creative fields, from animation to fine art, what are some tips for artists who are just getting started?

Tony Papesh:
I have always tried to keep my work and personal art separate. The biggest difference between the two is that when you are working for other people, you are essentially creating their ideas. They have the idea but need someone to make it. When it comes to your own art, you are free to make whatever you want. Don’t get caught up in pleasing an audience. Just please yourself.

5

Paul Weiner:
How do you start a new work of art? How does your process vary between fine art and animation or design?

Tony Papesh:
I usually begin with a vague idea in mind. I will have a short phrase, an emotion, or something that I say over and over while painting. It kind of makes me sound like I am some sort of psycho to be repeating the same thing to myself while painting, but, usually, it is just the canvas, myself, and whole lot of time. I tend to get lost in my own head, and before I know it I am wrapping up a painting.

7

Paul Weiner:
How did you get involved with making art in a professional way?

Tony Papesh:
I was always drawing, even when I was a little squirt in Illinois. I never really thought too much about doing anything else as a career because I was too focused on art. I always was drawing and painting, but, I guess, I became a professional when someone wanted to start paying me to do it.

3

Paul Weiner:
You mentioned growing up in Illinois. How did you end up in San Francisco?

Tony Papesh:
In Illinois, I was always told that if I wanted to be an artist, I would need to move to California or New York. Now, that isn’t entirely true. You can be an artist anywhere, but I kept telling that to myself as I looked for art schools in California. I ended up in San Francisco for a few reasons, but the most appealing to a poor college student was that you could survive without a car.


Please view Tony Papesh’s work online and “like” Critique Collective on Facebook at http://www.facebook.com/critiquecollective.

Subscribe to the Critique Collective newsletter for additional content, faster updates, art tips, and insider information absolutely free.

Advertisements

The Honey Hive Gallery: Local Talent in San Francisco

Looking for a young and fresh face in the San Francisco art scene? The Honey Hive Gallery displays local artists and helps emerging talent gain exposure while supporting the neighborhood’s burgeoning culture. Since it was founded in October of 2013, the space has hosted a variety of art shows, poetry readings, live music sets, movies, dances, and workshops.

galleryfront

gallery5


The best part of the gallery isn’t even the giant wasp painting guarding the entrance or the location right by the beach I’d like to be sitting on right now. What’s spectacular about the Honey Hive Gallery is that the management, led by Topher Knoll, is dedicated to the environment it exists in: the Outer Sunset District. Supporting local artists and communities is increasingly important as the art world is becoming dominated by super galleries and the patronage of the lucky few. Remodeled barred-over windows have turned into a welcoming art gallery and community gathering area in the Outer Sunset.

The Honey Hive Gallery is attracting attention from neighborhood residents and working from the ground up in an ethical way, the way that emerging art galleries should work. Entering the Honey Hive will leave you enveloped in breathing, tangible culture featuring accessible artists such as printmaker Myles Dunigan, oil painter Katie Steward, and illustrator Tony Papesh.

So, if you’re a San Franciscan looking to buy art, experience the local culture, or get a free date full of bad puns with your “honey,” stop by the Honey Hive Gallery. Upcoming events include live music January 10 and spoken word open mic nights on January 17 and 21 or get your hands dirty and RSVP for a screen printing class on January 25.

work1

gallery2

gallery3

Subscribe to the Critique Collective newsletter for additional content, faster updates, art tips, and insider information absolutely free.

Painting Perception and the Human Condition with Aaron Czerny

Aaron Czerny is an artist focusing on ideas within human perception related to behavioral habits. He has exhibited in various galleries throughout San Francisco, Santa Fe, Austin, New York City, Italy, and Lithuania. Czerny’s work is also available online at http://aaronczerny.com/.
Screen Shot 2013-08-25 at 12.41.07 AM

Screen Shot 2013-08-25 at 12.47.24 AM


Paul Weiner:
What are you currently working on?

Aaron Czerny:
I am just coming out of a period in which I have been occupied with questions related to the human condition and juxtapositions of wildness and domesticity. I am fascinated with the ability of our species to be both brutally wild and brutally civilized, and the interchangeability of these terms depending upon the perceived point of reference.

At the moment, I am taking a break from such big ideas and questions and looking forward to doing some painting solely for the pure joy of it, the pure act and movement of it, for that particular smell of it and the feeling of it under my fingernails.

I will be going back to school this fall to finally finish my BA, and I consciously chose to take a bit of a hiatus beforehand to allow the space necessary for the upcoming new experiences and perceptions that will be stimulated from that environment.

I am also a firm believer in periods of leisure and constraint; these times allow one’s well to be replenished, while, at the same time, facilitating a type of inner expansion to occur. Creation needs ample amounts of time and space to develop. I have found over the years that my best work comes after periods of leisure. I then have an intense period of creative explosion, a personal Big Bang of sorts.

I am looking forward to such a period in the very near future!

Screen Shot 2013-08-25 at 12.41.40 AM

Screen Shot 2013-08-25 at 12.42.34 AM

Paul Weiner:
Tell us a bit about your beliefs on human perception and how those beliefs relate to your abstract paintings.

Aaron Czerny:
The roots of understanding human perception are so vast, and, in my 40 years of consciousness, I feel as though I have had fleeting moments of intense awareness and clarity (most often while painting or engaged in what we call the “natural world”). Sometimes, on the rare occasion, I have experienced a more sustained level of discovery and lucidity, but never for long, extended periods of time. In some ways, I think this is part of the foundation of our unique form of human animal perception: that our modes and forms of consciousness, and unconsciousness, are always shifting, deconstructing, transforming, and changing with the multitude of dynamic environments we inhabit, and which we sometimes help create, destroy, or alter.

I believe the roots of our perceptions are directly connected to the land we come from. That it is the land (environment), which dictates the type of food that is available, the type of animals and plants that live there, and therefore create specific types of chemical reactions that occur when ingested. All of this can have an effect on and direct relationship to the type of language that is created and, in turn, the type of culture developed (i.e., the type of beliefs, religions, art, etc. that are the vehicles of our perceptions).

Screen Shot 2013-08-25 at 12.43.05 AM

Screen Shot 2013-08-25 at 12.43.34 AM

Screen Shot 2013-08-25 at 12.44.10 AM

Screen Shot 2013-08-25 at 12.44.35 AM

Paul Weiner:
Are you satisfied with the commercial art world as it runs today?

Aaron Czerny:
In answering this question, I could choose to focus on the negative connotations associated with the word commercialism, but I would like to focus instead on the idea of Art as a viable means of commerce.

I remember certain artist friends being incredulous when I started showing and selling for the first time with an official gallery years ago. They thought it was so unfair that galleries took such a large percentage from the artists. My attitude then, and now, is that they deserve every penny when doing their job well, a job most artists neither want to do nor have the time to do. If they (gallerists, representatives, collectors etc.) let artists do their work and are helping facilitate their ability to do work, great! That is exactly what we need.

I, too, held certain proverbial “artist angst” ideals years ago in relation to commercialism. It took the form of getting upset upon seeing work I thought was crap hung in galleries and museums and being sold for so much. It is an attitude that is a waste of time and one that can get in the way of pursuing a viable and joyful career. I believe every artist is searching for his or her audience, and if someone happens to find it, no matter what one’s opinion may be in relation to the art or artist, we should be glad, for we all need an audience, especially one that can give us not only emotional support but monetary support as well. So, in the sense of the exchange of goods and services, the commercial market is important.

I do think that the market could help facilitate, sponsor and further educate the general public in developing a deeper appreciation of the arts, therefore seeing it as a necessary commodity that has social, cultural and personal importance.

I want to stress that a market, which helps provide a platform that promotes a relationship between an audience, individual and institutional collectors and the artists themselves is imperative and an aspect I am working toward being more a part of.

Screen Shot 2013-08-25 at 12.45.27 AM

Screen Shot 2013-08-25 at 12.45.50 AM

Screen Shot 2013-08-25 at 12.46.08 AM

Paul Weiner:
As an artist working in abstraction, do you feel that purely figurative art can evoke the same type of emotional response as abstract?

Aaron Czerny:
To a certain extent.

I believe that what we term as abstraction is directly rooted in and stems from the figurative narrative. Our experience as humans is directly connected to our body’s myriad ways of sensing ourselves, others (sentient and non-sentient beings), and the environments we all inhabit. The art we create is transmitted first and foremost through the body, no matter what part it germinates and resonates within first.

That being said, I think that abstract and figurative work can evoke emotional responses in very different ways, just as different models or makes of cars can give very different driving experiences even though being driven on the same road.

Overall, I think art, no matter my opinion of it, whether it be figurative, abstract, conceptual, performance, or any other form, has the ability to touch others in deep, profound, and personal ways because it is a form of communication, a language. We all, in varying ways, search for and desire connection, understanding and a sense of the mysterious and divine.

Paul Weiner:
How do you begin a painting? Take us through your process.

Aaron Czerny:
The first thing I do is build the panels to work on. As much as I like putting my energy into all aspects of the piece, I would like to have the panels built for me in the future. I like to construct a fairly large number in different sizes to have on hand because, when I begin to paint, I need to be able to grab as many as necessary in the heat of the moment. Sometimes one is enough, but often the intensity of the energy is such that it cannot be confined to one space, but needs to spill over, across, and onto various surfaces. Having many prepared and on the walls, blank and waiting, creates a void of expectancy, a space and place for vision to be transcribed.

My preferred surface to work on is normally Baltic birch plywood. It has a really beautiful color and grain texture that I generally like to leave a portion of partially exposed in my pieces. I more often than not like the wood versus canvas, although I like painting on it as well, because I can be rough with it, use pencils and other hard drawing implements upon it without it ripping, and it has a presence of its own, a substance.

I also like the quality of line the hard smooth surface allows; that’s not to say I don’t also like rougher surfaces, such as the old fencing I used for a whole series because, when using materials one is not accustomed to, it pushes and forces the work to go in new directions. It forces artists to get out of their comfort zones, to go beyond where they may usually tread and what they may normally accomplish, and I like this.

I work foremost from feeling. Whatever I am feeling in the moment or in my life at the time and go from there: turn on some music, usually jazz, to help facilitate entering into that trancelike state of creation, pick up a color, approach the piece, most times close my eyes, and put hand and medium to material. Boom! The big bang begins; the dance is started; the traversing of worlds commences; touch and go; guide and step aside; and most importantly: TRUST; get out of my own way and allow the mystery to unfold.


Please view Aaron Czerny’s work at http://www.aaronczerny.com and “like” Critique Collective on Facebook at http://www.facebook.com/critiquecollective.

Subscribe to the Critique Collective newsletter for additional content, faster updates, art tips, and insider information absolutely free.

Jeffrey Thompson’s Patterned Abstract Paintings and the Wonder of Mathematical Systems

Jeffrey Thompson is a painter from San Francisco who relies on a mathematical, grid-based concept in order to develop abstract paintings. Recently, Thompson has exhibited his work at the University of Southern Oregon and in the SF Weekly for their “Masterminds 2013.” His art is available online at http://jtarts.com/.

6

Untitled | Linear Grid 1


Paul Weiner:
How do you usually begin a painting? I’d like to hear about how you plan (or don’t plan), develop concepts, and engage in problem solving.

Jeffrey Thompson:
Ideally, each painting informs the next, so I usually begin the process by reviewing any relevant past work. At the outset, I make some general decisions about the way forward. I decide, for example, whether the new work will try to expand on any previous effort, or explore different territory. If the surface I’m planning to work on has a predominant characteristic, horizontal or vertical, I decide how to treat it in the composition. That is, I decide whether to employ it, or to somehow defeat it.

When I begin to attack the canvas, the process is largely mathematical. First, I determine the basic interval upon which the surface is based. For example, a 30″ x 30″ surface would likely use a 3″ basic unit. I then break down the composition based on those dimensions. I may then further divide the surface into smaller regions or grids. When establishing the drawing, I’m typically trying to emphasize the relationship between the painting surface and the layout.

At the point when I have the drawing in place, I make some fundamental choices about mediums, color, and content to cover everything from paint to the source materials I’ll be using in the collage. These collage elements are critical, as they determine a great deal about the overall impact of the piece. Newsprint carries a lot of populist imagery that, when broken down, becomes increasingly ambiguous. I find this desirable up to a point. Through experience, I’ve discovered that, if these materials are broken down too far, all meaning is obliterated. If not far enough, they seem to endorse more than is necessary.

I should note that I’m not after a specific message here. Rather, I’m trying to incorporate elements of the culture as a whole. Ironically, my objective is not unlike a good newspaper. I see myself as a kind of visual editor seeking an objective and balanced overview.

In contrast to newsprint, I sometimes opt for finer, clay-based papers in the collage, which typically come from fine art magazines or professional journals. These materials emphasize subtle color and advanced typography, and when using them, I focus on those elements.

I spent much of the past twenty years working with type and color as a graphics specialist and journeyman lithographer. My career in design and printing influenced my interest in graphic or text-based imagery and also financed my work in fine art.

I most often work with a combination of acrylic, oil, and enamel paints. I layer the acrylic paint first, with the solvent-based paints on top, in order to create a more or less stable paint structure. These paints are used out of the container in an unaltered state, although I do mix for color. I apply the paint directly, frequently manipulating it with pallet knives, spatulas, and other tools, rather than relying on brushes exclusively. The paint is alternately removed, sanded, or reduced and reapplied until it achieves sufficient density and form.

While the work is underway, I often photograph it in order to make decisions about direction, proportions, content, etc. When problem solving, I will use whatever tools are readily available, or most appropriate. This includes everything from mirrors to Photoshop. My only rule when using these tools is not to rely on any one of them too much. In order to see the work objectively, I will also hide it, turn it to face the wall for a period of time, or simply look at it upside down to take it out of normal context.

The final step is, of course, finishing the work. This is often the most subjective part of the process. It involves deciding that some or all of my original goals have been met, and that what has been achieved cannot be taken much further without losing what has been gained. It may also include approving any discoveries I may have made along the way. I will almost always embrace a positive random occurrence or other happy accidents.

11

10

Paul Weiner:
Since your process relies on a mathematical process based on the surface you’re working on, how do you think it would change if you were to paint on a non-rectangular surface?

Jeffrey Thompson:
I have occasionally worked with random shapes when I come across what I call found surfaces. This has led to some interesting adjustments, but, in terms of an intentionally irregular or curved surface, I don’t think much would change. A two-dimensional grid can be applied to any non-linear shape. Even an irregular cloud like mass can be mapped and diagramed.

I will admit that type of presentation is less appealing to me. I don’t, however, think this is simply bias. I believe that the rectangular format is somehow intrinsic to the way we think about things visually. A theatre uses a linear proscenium; televisions are linear; and even books are rectangular. Some of that is a by-product of technology and tradition, but I think some of it is hard-wired in us.

5

4

Paul Weiner:
What is the ideal forum for displaying your artwork? Do you prefer it in a commercial gallery, museum, public space, or other art space?

Jeffrey Thompson:
The ideal environment for this work would, in my opinion, be a permanent installation that would be site-specific. I have envisioned the work, especially the horizontal abstractions, in some sort of fixed setting along the lines of a viewing chapel or chamber, where the experience could be fully integrated. These paintings seem to thrive in intimate spaces and often take on unique and personal narratives and associations within this type of space.

That being said, I have found that work from this series seems to adapt well to most environments. I have shown the work in spaces that range from intimate local galleries in San Francisco’s Mission District to large academic environments such as the one at Southern Oregon University. In each, the work takes on a unique and compelling personality. In the case of a recent commission, the work seemed to transform before my eyes after being installed. As comfortably as it fit in the studio, it seemed equally at home in its intended environment. I think because the work is essentially geometric in nature, it not only echoes the surface on which it lives, it also naturally embraces and compliments the architecture of the room in which it is hung.

1

Ulysses | Linear Grid 2

Paul Weiner:
How did you happen upon the striping and grid formats that are prevalent in your recent works?

Jeffrey Thompson:
This format evolved out of a combination of early influences from art school and my professional exposure to commercial graphic design standards. While studying lithography and etching under Kenji Nanao and Misch Kohn, respectively, at Cal State – Hayward, I became aware of the significance of the grid as an integral, albeit silent, partner in the printmaking process. Everything involved in the planning of a print, or painting for that matter, relies upon and is constrained by the essentially rectangular format of the process. This encompasses every aspect, from the paper to the press itself. The vast majority of litho stones and most etching plates echo this format, and, so, the planning involved in printmaking necessarily becomes an extension of that underlying geometry.

When my career extended itself into the commercial environment, this relationship only grew. Everything produced in a commercial print shop relies heavily on the geometry of the press and, by extension, the grid. Later on, as commercial lithography came to rely almost entirely on computer-generated graphics, the underlying grid became more and more significant. This is especially true in print design for publication, where every square inch or millimeter has a defined value, both literally and figuratively. A full page ad in the New York Times is valuable real estate, and the designs created for that environment are necessarily based on columns and margins, which are themselves based on the underlying grid.

Eventually, I took this fundamental premise and adopted it as the basis for a series of paper collages. This soon expanded to larger and larger paintings. There was something compelling and universal about the structure, and I quickly discovered that the potential for variations on this theme were numerous.

9

8

Paul Weiner:
Would you consider your work as expressionist, purely aesthetic, conceptual, or something else?

Jeffrey Thompson:
This is probably the hardest question to answer, and I would gently resist any temptation to put a definite name on my work. I suppose it would be ideal if others cared enough about my work to decide that for themselves. Frank Stella, whose early black, linear paintings were a big inspiration to me, considered his work to be minimalist and post-painterly abstractions. I, of course, would be thrilled to have my work associated with either of these disciplines although, technically, I lean towards a more painterly approach.

However, I believe what truly defined Stella’s work was his ability to reinvent himself and his paintings throughout his career, thus defying a strict classification. My greatest desire would be to emulate that ability, to continue to grow my work and reinvent my process over time. However, if pressed, I would say that I am generally an abstract painter who leans heavily on aesthetics, conceptualism, and expression, not necessarily in that order.


Please view Jeffrey Thompson’s artwork online at http://jtarts.com/ and “like” Critique Collective on Facebook at http://www.facebook.com/critiquecollective.

Subscribe to the Critique Collective newsletter for additional content, faster updates, art tips, and insider information absolutely free.