Back to Gallery Stroll for the last time in 2008... a tad ahead of
schedule I might add!
--- Its that time of year in SLC again, when a number of things happen either
early or late due to the holiday season. And one of the first events you see is
Gallery Stroll in December, bumped up a whole two weeks in advance to December
5th. The time frame caught me a little off guard but I still managed
to make it out and over to galleryUAF.
Utilizing the main offices for the Utah Arts Festival, the gallery showcases
several artists at once in a mixed display for strollers and fellow Artspace
residents to come visit. I popped in to take pictures and interview some of the
main artists featured this month at the gallery. All to the music of Stella By
Starlight, with refreshments provided by Raw Bean.
Jason Christensen
http://www.jasonchristensenphotography.com/
Gavin: Hello Jason. First off, tell us a little bit about yourself.
Jason: I am a professional outdoor photographer who photographs nature
and scenic landscapes with a large-format 4x5 film camera. I photograph on 4” x
5” transparency film giving me finer grained, more vivid color and better
quality shots than with print film or digital imaging. I’ve been photographing
seriously since about 1995 and have grown my business every year since. I
participate in and show in art festivals, galleries, and numerous publications
nationwide including calendars, magazines, postcards, etc. I mainly photograph
here in
Gavin: What
first got you interested in photography?
Jason: I’ve always been interested in photography since I was a kid. I
remember always watching the wildlife videos on television and wanting to do
that when I had grown up. In school where I took various art classes, but
photography was always the most inspiring to me. Being behind the camera always
felt right.
Gavin: What kind of education did you seek out for it?
Jason: I began taking photo classes in junior high school. I loved color
photography, but black and white always intrigued me. I took black and white on
into high school and college. I had a couple professors in college who
influenced and motivated me into the photography/art profession. School was
always a good teacher, however studying the masters of photography was not only
inspirational but enlightening as well. Going to the library for fictional
reading was not for me. I would find the photo books by different photographers
with the best wildlife and nature photography, then delve into them learning
everything I could from each artist and then putting that knowledge to use by
taking it to the field and experimenting with my own style of shooting.
Gavin: I read that you used to do illustrations. What changed your mind
to pursue photography professionally, and do you still do illustrations from
time to time?
Jason: Growing up I was always drawing, painting, or taking pictures of
something. In college I took numerous credit hours of art classes in which I
feel has contributed immensely in my photography career. People always ask me
how drawing and painting could help in taking pictures. I tell them that
photography is an art where I use composition, color, design, perspective, and
mix it all together to make a beautiful image that makes people feel as if they
are experiencing ‘the moment in time’ the photograph was taken. I no longer work
with illustrations because of the demanding work that being a professional
photographer requires.
Gavin: As a photographer, do you prefer film or digital quality, and
why?
Jason: This is a very touchy subject for me. I deeply feel that film and
digital are two totally separate mediums and should be treated as such. I
classify film photography as ‘photography’, and digital photography as ‘digital
imaging’. Growing up on film has giving me a unique perspective on photography
that will never change. Don’t get me wrong, digital imaging definitely has it’s
place in the industry and is an art of it’s own creation. The everyday family
camera, tourist, casual amateur, commercial, weddings, portraits, abstract
design, sports, and news all have a high demand in quick turnaround work, which
is great for digital. Professional fine-art scenic photography is not this way.
There is something to be said about photographers who patiently wait for the
right light, setting up his/her camera, feeling the moment and squeezing the shutter
on their one piece of film, knowing from experience of how this image will
develop when processed. Developing that 4x5 piece of film and being able to
physically hold up to a light box is like having Christmas morning every time
you get a batch of film back, knowing you nailed the shot and have a piece of
history that can be produced as art for the world to experience. This is
compared to digitally taking 100 pictures of one scene on a digital chip and
then deleting the pictures that didn’t turn out because of not knowing the
basic tools of a camera. This to me is a convenient, easy way of photographing
that still has yet to surpass the quality of film. I always tell people that
ask opinions of me to start out learning film photography first, learn the basics
before starting into digital. This is the best way to understand photography,
to manually use the camera and not rely on a view screen to tell you if it’s
properly exposed or not. For me, in my opinion, the magic gets lost in digital
imaging, and that’s why I choose film over digital. Anytime I have a discussion
about photography, and I mean every time, I find myself defending the
traditional way of photography, film. I grew up on film, I studied film, it’s
what I experienced and made a career out of, overall it’s a passion in my life
that I wouldn’t want to ever trade in. Drawing was not lost to painting,
painting was not lost to photography, black and white was not lost to color.
Film photography is an art that shouldn’t be lost to digital imaging. Unfortunately,
film is an expression of art that stands on the verge of extinction.
Gavin: What got you interested in doing nature and landscapes?
Jason: I’ve always been an avid hiker growing up, and I love the
wilderness and what it has to offer as an escape from the everyday chaos we
call life. I started out wanting to shoot wildlife photography, but realized
quickly that scenic photography would better suit me at the time. Watching the
sunset or sunrise ‘magic light’ as we photographers like to call it, hit a
mountain peak or a cloudy sky and bounce that magic light onto a field of
flowers or beautiful mirror lake captures my inner spirit in motivating me to
capture those moments in time that needs to be shared with the rest of the
world.
Gavin: How did you go about starting True Art Photography?
Jason: True Art Photography in my opinion is photographing what I see at
that very moment using no enhancing filters, digital enhancements or artificial
effects to take away the true nature of the photograph. I have my original
transparencies blown up to life size photographic prints still done in a
traditional photo lab darkroom. In this way I preserve the quality and
sharpness of my photograph. This process is sadly disappearing with only a
handful of photo labs still practicing these time-honored techniques.
Gavin: Was it difficult to get set up or did things move along smoothly?
And how is business doing today?
Jason: Starting out in photography was only a hobby to me at the time.
Once I started selling my work and realizing the potential to make a career out
of doing something I love is when I knew I had a difficult journey ahead of me.
It is a learning process from the very start and continues to be a learning
process. It seems to get more and more difficult as I get more involved in my
work. Photographing our beautiful scenery in this world is the fun and easy
part of this field of work. It was learning how to sell and market my work that
is difficult and a constant business. The photography business is good when
it’s good, but in down economies like we are having now it can be very
discouraging. Fine art is a luxury to most and not a necessity item, so it gets
hit hard in a recession. I just keep plugging away hopeful for good news around
the corner.
Gavin: Tell us about the works you're showing at galleryUAF.
Jason: The work I am showing at Utah Arts Festival Gallery I have titled
‘Desert Visions’. They are a powerful piece of my portfolio of the desert areas
in
Gavin: How did the opportunity come up for you to be a part of this
showing?
Jason: I was mailed a submission letter back in the early summer in
which I realized that being part of the Utah Arts Festival Gallery Stroll would
be a great opportunity for me to share my work. I was very excited to learn of
my acceptance to the show and I will definitely apply for next years showing.
Gavin: A little state-wide, what are your thoughts on the local art
scene, both good and bad?
Jason: The local art scene is a work in progress I believe. I think it
is slowly but surely getting more open to new ideas. People are starting to
realize that there is a lot of talented artist located here in
Gavin: Anything you believe could be done to make it bigger or better?
Jason: The only thing to make it bigger and better is to get every
gallery involved in Gallery Stroll. I believe that advertising Gallery Stroll
to the local public would help out greatly. Getting it out on the news, radio
and paper I think would help improve numbers to Gallery Stroll.
Gavin: What are your thoughts on the Stroll itself and how its evolved
over the years?
Jason: I’m fairly new to the Gallery Stroll scene, I have seen it grow
in the short time I’ve been participating but definitely see the potential of
being a great tradition every month. Gallery Stroll gives not only the
galleries good exposure but it also gives the struggling artist an opportunity
to grow and display their work.
Gavin: What can we expect from you this upcoming year?
Jason: I’m continuously growing my portfolio in photography. I will
continue to shoot with my large format 4x5 film camera of nature and
landscapes, hopefully going to new and exciting places.
Gavin: Is there anything you'd like to promote or plug?
Jason: My website
and Toyo film cameras.
Gavin: Hi Patty. First off, tell us a little bit about
yourself.
Patty: I was born and raised in
Gavin: What first got you interested in jewelry?
Patty: I have always been fascinated with personal adornment. I was
always rummaging through my mom’s jewelry boxes, and my friend’s mom’s jewelry
boxes! I have always admired baubles and beads and have had a fascination for
gemstones. I love wearing art. I have always loved the feeling of bangles on my
wrist, and precious metals dangling from my ears.
Gavin: Was there any education or training you took to learn the craft?
Patty: I have no formal training in jewelry design or fabrication, other
than classes at the Beaded Puma. I started out making pieces from gemstones and
silver wire, then added precious metal clay, copper, bronze, ceramic and lamp
work bead making to my tool box. I took two classes from Carol Avery to get
acquainted with Precious Metal Clay. I was immediately hooked on the clay.
Carol is a fun instructor and she continues to provide me with advice on
working with the clay. She also provided me with firing services until I could
afford my own kiln. From then on, I have learned from books, forums, trial and
many errors. The clay has potential to produce almost any design that I can
conceive. I have been working with metal clay for about five years. I also took
a lamp work bead making class taught by Margo at Beaded Puma. At first, I found
lampworking to be very difficult. I was very disappointed with the beads I made
in that first class. I was impatient and intimidated by the torch and the fuel
and oxygen canisters. I put the idea of creating my own lamp work beads on the
back burner, so to speak.
Patty: At a local jewelry show, I was lucky to have my booth sandwiched
between Sarinda Jones and Anne Timpson. They have been very generous with their
knowledge. I was fascinated with Anne’s amazing lamp work beads. Anne was
intrigued with my metal clay pieces. We formed an educational alliance. Anne
introduced me to Bernice Miera at a Glass Art Guild Of Utah meeting. Bernice
creates beautiful stained glass work, and is also a lamp worker. She offered
her teaching studio, to bring us together to exchange ideas and creative
energy. I spent many hours in her studio burning glass. They were amused at my
impatience and frustration with lamp working. “Practice, practice, practice!”
was the mantra…and still is. I am in the infant stage of glass lampworking. I
have much to learn. I have these women to thank, along with my very supportive
husband and friends, especially Kay Wankier, for their time, knowledge, encouragement,
patience, and use of their studio space, equipment and materials.
Gavin: How do you decide what kind of piece you're going to work on?
Patty: Many times, ideas pop into my head when I am doing something
unrelated. I jot them down, and take them to the drawing board. Other times I
just sit down and start playing. Sometimes the end result is fabulous, and
sometimes it is not. I have a huge “bad bead” jar, and many silver clay goofs
that I will re-fabricate in the future. I pull from my Illustration and design
background to create my pieces.
Gavin: What's the process behind making one from idea to final product?
Patty: For the metal clay, designs are constructed with the moist clay.
It can be cut, stamped, sculpted, or carved. After drying, it is sanded and
refined. I then fire at 1650 degrees for two hours. The pieces are then
polished, patina is added, and assembled. A lot of my work is making components
for pieces that will be assembled later. I make my own ear wires, and some of
the metal beads in my lamp work bracelet designs. Along with my own silver and
lamp work, I incorporate fair trade silver from Bali and
Gavin: Do you usually go for a specific look, what appeals to you, or
just randomly decide at some point?
Patty: It really is a combination of those things. Sometimes I have an
idea for a design, and as I spend time working on it, it evolves into something
quite different than what I originally had in mind. With lamp work, I am
usually working at mastering a new technique. I will sit at the torch and make
bead after bead until I feel like I can comfortably and efficiently produce the
new technique. This can take many days, or even weeks. There are countless
techniques to learn. I have my work cut out for me.
Gavin: Does it ever feel like jewelry isn't considered art in many
cases, or do you feel more like it's an unappreciated art form?
Patty: I’m assuming you are touching on the argument that jewelry making
is a “craft” and not “art”. Craft is a learned skill. Painters learn the craft
of painting, Sculptors learn the craft of sculpting. Jewelry designers learn
the craft of creating jewelry. Great artists master their craft and use of the
materials. Art is an expression or execution of a thought, idea, emotion or
intent. Art is a connection between artist and viewer. Art and craft are not
entities themselves. They are specific components of all creative work. There
is “art jewelry” and there is mass produced, cookie cutter jewelry. I do
suppose that “ jewelry as art” may be an idea that some find hard to wrap their
minds around. It sometimes seems that throughout history, a male dominated
medium has been labeled art, whereas a female dominated medium has been
considered a craft.
Gavin: Tell us about the works you're showing at galleryUAF.
Patty: These pieces are the culmination of everything I have been
working on the past 2 years. Of course, I am working on mastering my craft, and
will be for quite some time, I am sure until the end of my days.
Gavin: How did the opportunity come up for you to be a part of this
showing?
Patty: I have volunteered with the Utah Arts Festival for 18 years, and
have developed some great relationships. I have had great opportunities
afforded me. Matt Jacobson and Lisa Sewell have viewed my work and invited me
to participate in this show as well as in the 2008 Utah Arts Festival. I am
very grateful to them.
Gavin: A little state-wide, what are your thoughts on the local art
scene, both good and bad?
Patty: When I was young, I was always grumbling about the lack of art
venues in
Gavin: Anything you believe could be done to make it bigger or better?
Patty: I would like to see more galleries and studios participate in the
Stroll. I would like to see more involvement from galleries in the south and
west ends of the valley, and the small studios and galleries out in the
suburbs. They are out there! Maybe a weekly stroll for designated galleries on
a rotating basis so all can attend and something is always going on and always
being promoted.
Gavin: What can we expect from you this upcoming year?
Patty: I have some new ideas. I want to move into hollow glass forms. I
will be becoming more expressive with the metal clay. Also, reclaiming and
recycling is important to me.
Gavin: Is there anything you'd like to promote or plug?
Patty: Any event and gallery that promotes art and local artists. Art
Provides What Life Does Not!
Gail Piccoli
http://www.lunabellastudio.com/
Gavin: Hey Gail. First off, what first got
you interested in art, and what were some of your first inspirations?
Gail: I got involved with the arts through the back door. It was always
something I enjoyed and was encouraged to pursue in school but did not really
have the confidence in my ability.
Gavin: I've read you earned a degree in fine arts, but things didn't
work out the way you had hoped. Can you elaborate a little?
Gail: Even the art degree I studied was based on selling, preserving and
engaging other people into art appreciation. Art History is not exactly a fine
arts degree but it was my side ward step to be closer to the arts in the
managerial, promotional, conservation position then the more elusive creative
one. I obviously did not become an independent artist right away it took a few
years of honing my skills and developing my own style but it was pure chance
because honestly I was never really crazy enough about stained glass before to
want to pursue it personally.
Gavin: What got you interested in going to Luna Bella?
Gail: I moved to
Gavin: Do you feel like stained glass doesn't get the attention as an
art for it should, or that it's just overlooked?
Gail: Stained glass gets overlooked by so many people because they feel
it is predictable. I guess I am speaking more to the modernist because if you
like Victorian, Art Deco, Art Noveau, Prairie style to name a few they are
readily available. The more contemporary affordable work is not. Hopefully that
will change but just from my little bubble of art shows, galleries and retail I
don't see much out there right now which is unfortunate because i believe the
medium can successfully be pushed much more in that direction.
Gavin: What's the usual process and work that goes into a piece?
Gail: The technique for doing stained glass (copper foil) is pretty
straight forward and something anyone can do well with enough practice. The art
of it comes in when you can envision and produce a piece of work that feels
fresh and original with in the constrains of the technique. I try to always
follow that path when I have the opportunity to sell my work. Weather or not I
succeed at that is subjective but it keeps me alway pursuing and pushing for
the next successful design. Not all original pieces are successful I have a box
of misfits but many times what evolves out of a mistake can be something I am
very happy with. I don't want to give the wrong impression about any of the
above styles I mentioned earlier. I have come to enjoy them all and have made
many spins on reproduction pieces for people. It really is all about finding
something you can relate to, that is when people will make the investment in
your art.
Gavin: Going local, what are your thoughts on the
Gail:
Gavin: Anything you believe could be done to make it bigger or better?
Gail: Venues like the Utah Arts Gallery and the Festival are especially
important to local artist right now. The infamous four day 10-hour a day
festival is a great opportunity for exposure and sales. The collaboration of
venue and artist is an important one, be it Gallery or Farmers Market. Having local
venues willing to help me sell my work is invaluable to my motivation. Artists
should not discount all the work that goes into pulling together a
festival/farmers market/craft show and running a gallery/store. I have been on
both side organizer, gallery sales, retail and artist so I believe I can say
that objectively. Times are tough right now no doubt but I am motivated even
more and always pursuing the next new design.
Gavin: What can we expect from you this upcoming year?
Gail: I am currently displaying in Local Colors of Utah, UAF Gallery
Holiday show, Kimball Art Center Holiday show, the Chicago Art Institute museum
shop Catalog along with a few other boutique shops nationally.