Featured Artist: Zander Taketomo - 9.28.2009
Interview by: Gian Hunjan
Q: Hey Zander, thanks for the feature. Since the majority of your photography revolves around skateboarding, can you give us some background on when you started skating? Did growing up in Boston increase your interest in photographing skateboarders?
A: No problem, thanks [for having me]. I started skating in the middle of third grade and was instantly hooked. My best friend got a board as a present, which we shared until my birthday. In terms of the people I skated with back home that are in my photos, I grew up skating with most if not all of them. It just so happened that those “kids” grew up to be some of the most talented skateboarders I’ve ever seen.
Growing up in a thriving skate scene at the time just made the talent more abundant. Shooting photos of skateboarding was something that came later down the line. I was taking an AP art class in high school, and had had little inspiration/talent with working with my hands in a classroom setting. By the end of the term, I had nothing to send out to the AP association. Photography, at the time, seemed like, “I can click the shutter, and there’s a work of art.” It was definitely an unplanned find. The photos [from class] were not works of art by any means, by the way. My art teacher, David Moore, was super encouraging. Even though he did little photography himself, he helped critique what I was working on.
Q: As the years have gone by, your photography has gained media coverage within the skateboard community and has garnered a steady following, especially in the east coast. Have you found success in photographing certain skaters as they progress or do you just try to shoot anyone anywhere you can?
A: Shooting my friends has been, and always will be, a priority of mine. I’ve been fortunate enough to have some friends who are extremely motivated to skate in both Boston and Philadelphia. Staying loyal to people I [photograph] regularly is something that just comes [naturally] when skating with people you like to surround yourself with. Most of my friends that I skate with and shoot are students, graduates, or are pursuing something else for themselves.
On the other hand, with print magazines entering this rough economic state, I like to keep myself available to anyone who’d like to shoot with me. Shooting with bigger names is a necessity to do skateboard photography at a professional level. I’m not doing that right now, but for me, whether it be a local skateboarder or the occasional pro, shooting as much as possible is the most gratifying [aspect] and provides more options in terms of getting photos published.
In summary, I just like to shoot a lot of photos.
Q: What are your thoughts on the future of Philadelphia’s skate scene, Zander? Three years ago it was nearly impossible to get an hour to skate at many popular spots, but these days there seems to be a small revival. Do you think Philadelphia based skaters are going to have to rely more on the “build it yourself” rather than “go find it” mentality in the years to come?
A: That’s a tough one. More so than any other city I’ve skated, Philadelphians are incredibly determined to go on a limb to find a cool skate spot: one they won’t get hassled at. Love Park has been more accessible lately, but the authorities are still out to get us. Skateboarders, who prefer street skating, will always do what they want. That’s why most of us started skating. Ten years ago in Philly, the Love scene was huge. When it died down, street skaters searched elsewhere. But at the same time, there are plenty of skateboarders who have been searching for creative architecture the whole time.
Q: Right off the bat the photo of Ishod Wair switch flipping the Love gap catches the eye. Besides the fact that the trick is monumental in the skateboard community, to capture it is the true lifeblood of its influence. What was your process for setting up your equipment and getting the aerial angle? Was the trick spur of the moment or had Ishod been toying with the thought for a while?
A: On top of that being an amazing trick, I had a very lucky night being able to capture it. We’d gone to the gap a couple of times early morning, as in seven AM to hit it up before the park rangers arrived. The last time we tried it, maintenance people began cleaning the fountain with hoses and sprayed the landing. Then we decided to bring lights and a generator at night so Ishod could see what he was doing for the switch flip. It took two nights. The night he landed was almost a disaster for me. I had to meter my flashes from ground level, and then climb up on the love sign to preview a Polaroid. Every adjustment was time consuming because of having to get up and down from the sign, which is tough when you’re shooting a trick where the skateboarder has to be completely focused.
When he landed the trick, I assumed everything was fine, but still had to wait until Monday to get my film developed. I went to the lab only to see the first couple frames. A few of my flashes didn’t go off because the batteries were low in a couple of the receivers. Somehow, out of maybe twelve to fifteen shots I took, only three or so were lit the way I wanted, one of which being the land. Someone was definitely looking out for me that night.
Q: The vast majority of your photos are film. Why haven’t you transitioned into the digital medium? What positive characteristics of a photograph can you attribute to film vs. digital, especially when shooting skaters?
A: I’ve put an obsessive amount of thought into the benefits of each medium and I still think film produces a finer photograph. When shooting skating, catching the perfect moment can be harder when you’re not able to preview the photo like you would with digital, but the dynamic range and sharpness of film is still a selling point.
For skateboarding, the square 6x6 medium format translates well into composition. Right now the main thing holding me back is the medium format (film) fisheye. If I do begin shooting more digital, I’ll still bring the medium format fisheye out. There’s something about it that’s addictive for me both as a user and a reader.
Q: For anyone interested in the specifics of how you go about shooting your photographs, would you mind elaborating? What kind of camera do you use?
A: Normally, when I setup for a skate shoot, I walk around like a zombie, but inside I’m actually thinking of what angle would work best for lighting and for representing the trick. The more I shoot, the more careful I am with use of shadows on and off the subject. If I do include a shadow of the skateboarder in the photo, I almost always make sure it’s just one. Two shadows and echoed shadows are pet peeves. Sometimes this takes more trial and error than others.
When you’re shooting film, if your lighting isn’t spot on, you’re pretty much wasting an entire slide of film. I think that’s one thing that helps me progress in photography; film has little leniency for laziness. I am definitely lazy sometimes, and that shows in the photo.
For medium format I shoot with a Bronica SQ-A and a few lenses, one being the fisheye. I [usually] use the 35mm fisheye and the 150mm. I almost solely shoot Kodak E100VS slide film. Aside from it having my favorite saturation/color temperature, it also stays pretty flat after processing which makes scanning a lot easier. Most of my black & white/color negatives I shoot on a Canonet QL17 35mm. I do have a Nikon d200 for the rare digital stills, and d2h for sequences. My flashes consist of a Lumedyne 200w/s action pack, Quantum Q flash T2, three Nikon S800’s, and a Nikon SB28. Sometimes I use all of them, sometimes I don’t. Whatever keeps the lighting from getting flat pretty much. There’s a lot of photographers out there that I admire that swear by the ‘less is more’ attitude in terms of flashes, which I definitely appreciate, but right now I like the task of having more location specific lighting.
Q: Based on your photos it’s clear that you’ve traveled around quite a bit. Where have you visited lately that has provided you with some quality shots? What do you try to focus on when winter starts up and the days of shooting and skating aren’t as bountiful?
A: I’ve traveled mostly within the States, with the exception of Toronto and Montreal. The past two winters I traveled south to Miami and Houston. I usually end up going to Canada a couple times in the summer. New York and Boston are cities that I make shorter trips to year round. I wouldn’t say going to new places results in better photos, but it allows skateboarders to have more options. When it comes to photography and making videos, you’d be surprised how picky skateboarders are to put out something that is personally creative.
Q: Zander you’re a Senior Photographer for Focus Skateboard Magazine in Philadelphia, how did you end up getting involved with Focus? What other skate publications do you follow and where do you think the future of skate print is headed?
A: Focus was something I became a part of in 2006. I’d been contributing [on a regular basis], and when I moved to Philly, it was a convenience to Mazur and Justin, the co-owners, [who have an office in Philly]. Motivation definitely helped get me in. I don’t see skateboard photography as an investment, it’s something I just love to be around and do. I enjoy being able to put friends in the magazine and seeing contributors help them get their work seen.
Not enough underdog skateboarding or photography is showcased in today’s magazines mostly due to advertisers. I definitely can’t hate on that, but Focus is special because it doesn’t have the corporate higher-ups that many magazines need to impress which can sometimes create issues that are worse than others, but after each print it’s almost entirely our voice.
Q: These days skating is taking a heavy hit, but in turn provides an opportunity pocket for those who want to get creative and make their talents known. What keeps you positive and eager to get out and continue shooting given the current decline? Any goals you have in the coming years after college?
A: Skateboarding has seen this decline before, and while it’s really hurting skate shops and smaller companies, I think it’s good for skateboarding as a whole. The media has been getting too carried away with skateboarding; just this week, Axe came out with a commercial of Ryan Sheckler skateboarding while spraying his armpits! Things like that drain the substance out of skateboarding that only a skateboarder him/herself can experience. At the same time, I think it’s great that corporate companies are allowing talented individuals to retire off of skateboarding. Unfortunately many of the best [skateboarders] are overlooked since the corporate world can’t afford too many big names side by side. That’s life though, there’s no reason to be bitter for choosing better skate etiquette than selling your name.
Right now, as well as after college, I’m just trying to broaden my shooting. I’m always trying to take portraits, photographs of people, urban scenes, etc. Normally when I’m out shooting it’s for skateboarding. I plan on putting more time into that for sure because I’d love to be able to do any sort of photography for a living after school. Beyond that, shooting anything new is satisfying whether or not I like how I shot it.
Q: Thanks again for showing us your work and words Zander. Where can The Pudding and its readers find more of your work?
A: No problem, thank you. I appreciate you helping me get some exposure. Right now I just have a photo blog of published/non-published works. City-People.com, and a flickr account - http://www.flickr.com/photos/zandertaketomo.
A: No problem, thanks [for having me]. I started skating in the middle of third grade and was instantly hooked. My best friend got a board as a present, which we shared until my birthday. In terms of the people I skated with back home that are in my photos, I grew up skating with most if not all of them. It just so happened that those “kids” grew up to be some of the most talented skateboarders I’ve ever seen.
Growing up in a thriving skate scene at the time just made the talent more abundant. Shooting photos of skateboarding was something that came later down the line. I was taking an AP art class in high school, and had had little inspiration/talent with working with my hands in a classroom setting. By the end of the term, I had nothing to send out to the AP association. Photography, at the time, seemed like, “I can click the shutter, and there’s a work of art.” It was definitely an unplanned find. The photos [from class] were not works of art by any means, by the way. My art teacher, David Moore, was super encouraging. Even though he did little photography himself, he helped critique what I was working on.
Q: As the years have gone by, your photography has gained media coverage within the skateboard community and has garnered a steady following, especially in the east coast. Have you found success in photographing certain skaters as they progress or do you just try to shoot anyone anywhere you can?
A: Shooting my friends has been, and always will be, a priority of mine. I’ve been fortunate enough to have some friends who are extremely motivated to skate in both Boston and Philadelphia. Staying loyal to people I [photograph] regularly is something that just comes [naturally] when skating with people you like to surround yourself with. Most of my friends that I skate with and shoot are students, graduates, or are pursuing something else for themselves.
On the other hand, with print magazines entering this rough economic state, I like to keep myself available to anyone who’d like to shoot with me. Shooting with bigger names is a necessity to do skateboard photography at a professional level. I’m not doing that right now, but for me, whether it be a local skateboarder or the occasional pro, shooting as much as possible is the most gratifying [aspect] and provides more options in terms of getting photos published.
In summary, I just like to shoot a lot of photos.
Q: What are your thoughts on the future of Philadelphia’s skate scene, Zander? Three years ago it was nearly impossible to get an hour to skate at many popular spots, but these days there seems to be a small revival. Do you think Philadelphia based skaters are going to have to rely more on the “build it yourself” rather than “go find it” mentality in the years to come?
A: That’s a tough one. More so than any other city I’ve skated, Philadelphians are incredibly determined to go on a limb to find a cool skate spot: one they won’t get hassled at. Love Park has been more accessible lately, but the authorities are still out to get us. Skateboarders, who prefer street skating, will always do what they want. That’s why most of us started skating. Ten years ago in Philly, the Love scene was huge. When it died down, street skaters searched elsewhere. But at the same time, there are plenty of skateboarders who have been searching for creative architecture the whole time.
Q: Right off the bat the photo of Ishod Wair switch flipping the Love gap catches the eye. Besides the fact that the trick is monumental in the skateboard community, to capture it is the true lifeblood of its influence. What was your process for setting up your equipment and getting the aerial angle? Was the trick spur of the moment or had Ishod been toying with the thought for a while?
A: On top of that being an amazing trick, I had a very lucky night being able to capture it. We’d gone to the gap a couple of times early morning, as in seven AM to hit it up before the park rangers arrived. The last time we tried it, maintenance people began cleaning the fountain with hoses and sprayed the landing. Then we decided to bring lights and a generator at night so Ishod could see what he was doing for the switch flip. It took two nights. The night he landed was almost a disaster for me. I had to meter my flashes from ground level, and then climb up on the love sign to preview a Polaroid. Every adjustment was time consuming because of having to get up and down from the sign, which is tough when you’re shooting a trick where the skateboarder has to be completely focused.
When he landed the trick, I assumed everything was fine, but still had to wait until Monday to get my film developed. I went to the lab only to see the first couple frames. A few of my flashes didn’t go off because the batteries were low in a couple of the receivers. Somehow, out of maybe twelve to fifteen shots I took, only three or so were lit the way I wanted, one of which being the land. Someone was definitely looking out for me that night.
Q: The vast majority of your photos are film. Why haven’t you transitioned into the digital medium? What positive characteristics of a photograph can you attribute to film vs. digital, especially when shooting skaters?
A: I’ve put an obsessive amount of thought into the benefits of each medium and I still think film produces a finer photograph. When shooting skating, catching the perfect moment can be harder when you’re not able to preview the photo like you would with digital, but the dynamic range and sharpness of film is still a selling point.
For skateboarding, the square 6x6 medium format translates well into composition. Right now the main thing holding me back is the medium format (film) fisheye. If I do begin shooting more digital, I’ll still bring the medium format fisheye out. There’s something about it that’s addictive for me both as a user and a reader.
Q: For anyone interested in the specifics of how you go about shooting your photographs, would you mind elaborating? What kind of camera do you use?
A: Normally, when I setup for a skate shoot, I walk around like a zombie, but inside I’m actually thinking of what angle would work best for lighting and for representing the trick. The more I shoot, the more careful I am with use of shadows on and off the subject. If I do include a shadow of the skateboarder in the photo, I almost always make sure it’s just one. Two shadows and echoed shadows are pet peeves. Sometimes this takes more trial and error than others.
When you’re shooting film, if your lighting isn’t spot on, you’re pretty much wasting an entire slide of film. I think that’s one thing that helps me progress in photography; film has little leniency for laziness. I am definitely lazy sometimes, and that shows in the photo.
For medium format I shoot with a Bronica SQ-A and a few lenses, one being the fisheye. I [usually] use the 35mm fisheye and the 150mm. I almost solely shoot Kodak E100VS slide film. Aside from it having my favorite saturation/color temperature, it also stays pretty flat after processing which makes scanning a lot easier. Most of my black & white/color negatives I shoot on a Canonet QL17 35mm. I do have a Nikon d200 for the rare digital stills, and d2h for sequences. My flashes consist of a Lumedyne 200w/s action pack, Quantum Q flash T2, three Nikon S800’s, and a Nikon SB28. Sometimes I use all of them, sometimes I don’t. Whatever keeps the lighting from getting flat pretty much. There’s a lot of photographers out there that I admire that swear by the ‘less is more’ attitude in terms of flashes, which I definitely appreciate, but right now I like the task of having more location specific lighting.
Q: Based on your photos it’s clear that you’ve traveled around quite a bit. Where have you visited lately that has provided you with some quality shots? What do you try to focus on when winter starts up and the days of shooting and skating aren’t as bountiful?
A: I’ve traveled mostly within the States, with the exception of Toronto and Montreal. The past two winters I traveled south to Miami and Houston. I usually end up going to Canada a couple times in the summer. New York and Boston are cities that I make shorter trips to year round. I wouldn’t say going to new places results in better photos, but it allows skateboarders to have more options. When it comes to photography and making videos, you’d be surprised how picky skateboarders are to put out something that is personally creative.
Q: Zander you’re a Senior Photographer for Focus Skateboard Magazine in Philadelphia, how did you end up getting involved with Focus? What other skate publications do you follow and where do you think the future of skate print is headed?
A: Focus was something I became a part of in 2006. I’d been contributing [on a regular basis], and when I moved to Philly, it was a convenience to Mazur and Justin, the co-owners, [who have an office in Philly]. Motivation definitely helped get me in. I don’t see skateboard photography as an investment, it’s something I just love to be around and do. I enjoy being able to put friends in the magazine and seeing contributors help them get their work seen.
Not enough underdog skateboarding or photography is showcased in today’s magazines mostly due to advertisers. I definitely can’t hate on that, but Focus is special because it doesn’t have the corporate higher-ups that many magazines need to impress which can sometimes create issues that are worse than others, but after each print it’s almost entirely our voice.
Q: These days skating is taking a heavy hit, but in turn provides an opportunity pocket for those who want to get creative and make their talents known. What keeps you positive and eager to get out and continue shooting given the current decline? Any goals you have in the coming years after college?
A: Skateboarding has seen this decline before, and while it’s really hurting skate shops and smaller companies, I think it’s good for skateboarding as a whole. The media has been getting too carried away with skateboarding; just this week, Axe came out with a commercial of Ryan Sheckler skateboarding while spraying his armpits! Things like that drain the substance out of skateboarding that only a skateboarder him/herself can experience. At the same time, I think it’s great that corporate companies are allowing talented individuals to retire off of skateboarding. Unfortunately many of the best [skateboarders] are overlooked since the corporate world can’t afford too many big names side by side. That’s life though, there’s no reason to be bitter for choosing better skate etiquette than selling your name.
Right now, as well as after college, I’m just trying to broaden my shooting. I’m always trying to take portraits, photographs of people, urban scenes, etc. Normally when I’m out shooting it’s for skateboarding. I plan on putting more time into that for sure because I’d love to be able to do any sort of photography for a living after school. Beyond that, shooting anything new is satisfying whether or not I like how I shot it.
Q: Thanks again for showing us your work and words Zander. Where can The Pudding and its readers find more of your work?
A: No problem, thank you. I appreciate you helping me get some exposure. Right now I just have a photo blog of published/non-published works. City-People.com, and a flickr account - http://www.flickr.com/photos/zandertaketomo.
Image Key:
1. Bryan Leddy - Ride on 5-0
2. Ishod Wair - Nollie kickflip
3. Ishod Wair - Nollie kickflip: Poster
4. Ishod Wair - Nollie kickflip: Poster in window
5. Ishod Wair - Switch kickflip
6. Ishod Wair - Switch kickflip: Skateboarder Magazine tear sheet
7. Joe Tookmanian - Frontside 5-0 between levels
8. Julian Heller - Backside tailslide
9. Julian Heller - Backside tailslide: Lighting setup
10. Kevin Coakley - Frontside boardslide
11. Kevin Coakley - Frontside boardslide: Transworld Magazine tearsheet
12. Kevin Coakley - Nosemanual pop in
13. Kevin Coakley - Nosemanual pop in: Blueprint Skateboards ad
14. Pat Heid - Gap to backside lipslide
15. Walt Wolfe - Backside 180 into bank
16. Throwdown
17. Philly Local
18. Day Walker
19. Waiting for the bus
20. Philadelphia polaroid - Double exposure
21. Montreal - Summer 2008
2. Ishod Wair - Nollie kickflip
3. Ishod Wair - Nollie kickflip: Poster
4. Ishod Wair - Nollie kickflip: Poster in window
5. Ishod Wair - Switch kickflip
6. Ishod Wair - Switch kickflip: Skateboarder Magazine tear sheet
7. Joe Tookmanian - Frontside 5-0 between levels
8. Julian Heller - Backside tailslide
9. Julian Heller - Backside tailslide: Lighting setup
10. Kevin Coakley - Frontside boardslide
11. Kevin Coakley - Frontside boardslide: Transworld Magazine tearsheet
12. Kevin Coakley - Nosemanual pop in
13. Kevin Coakley - Nosemanual pop in: Blueprint Skateboards ad
14. Pat Heid - Gap to backside lipslide
15. Walt Wolfe - Backside 180 into bank
16. Throwdown
17. Philly Local
18. Day Walker
19. Waiting for the bus
20. Philadelphia polaroid - Double exposure
21. Montreal - Summer 2008
Featured Artist: Emily Cobb - 9.21.2009
Interview by: Gian Hunjan
Q: Emily your work is blowing my mind right now. What is One-Eye, One-Ear, Flying Bunny People Eater Bangle made out of? How did you go about shaping the little guy getting eaten? Would you recommend the young businesswomen of America wear the bangle when interviewing for a job?
A: Hi, Gian. First of all, thank you so much for featuring my work! My One-Eye, One-Ear, Flying Bunny People Eater Bangle is made of Gypsum plaster coated in a clear epoxy resin to harden the material so it’s wearable. I created the entire piece on a computer first, then a 3-D printer at the school I attend (Tyler School of Art), and printed out the bangle three dimensionally! The computer program allows my work to have a lot of detail, such as the small figure inside the bunny’s mouth which is made up of 3-D spheres I manipulated [through] the program.
I think the young businesswomen could wear the bangle to an interview with a designer toy company like Kid Robot. However, walking into an interview with a rabid bunny in high heels flying around in a cape devouring humans left and right might give the wrong impression. [Especially] if it were an interview for say….an elementary school teacher. Of course, the interviewer wouldn’t understand the bunny is simply [executing] well earned revenge on the humans responsible for the death of his infamous lover, The One Eye, One Horn Flying Purple People Eater.
Q: I was looking at the Donut Shaped USB Organizer and was taken aback by your jump into a completely different medium. As I scrolled through the rest of your images, the contrasts in your pieces was astounding. How did you get into so many different forms of sculpture? Are there any particular mediums you favor over others?
A: Oh, I’d have to thank my major for that. In Metals/Jewelry/CAD-CAM you learn all sorts of ways to create art. I was almost a Sculpture major and in that major the possibilities for construction seem endless. I like working with more than one process at a time or else I become a little crazy. I like being able to create a piece on the computer one minute, then hop over to the next room and have a flame torch in my hand the next. Variation is key since I don’t like feeling pigeonholed.
For my Donut Shaped USB Organizer I had a goal of learning how to fabricate with metal, which I definitely learned to do and then some. Since then I’ve tried to learn at least one new method with each project. I try not to play favorites, but a part of me wishes I could take another Sculpture class so I can work with a welding machine again. My dream is to own a stick welder some day and create a huge playground for adult-sized people in my backyard *sigh*.
Q: So, I’ve been keeping it real with the flip phone for a while now, but sometimes I feel overshadowed by Smartphone users. It’s really refreshing to see that you’re still using the old fashioned flip phone as well, Emily. I’ve never seen the Social Butterfly with Cocoon phone before though. Do you have AT&T? Because I was just at the Verizon store the other day and didn’t see it anywhere.
A: I’ve been keeping it real with PB&J Wireless.
Q: The details in this piece are astounding. What exactly does the little green monster’s grill spell out? Looks like “New York”? Can you tell us the materials you used to construct the entire Social Butterfly phone? How long did it take you to perfect all the intricacies and decide on the final colors you wanted to incorporate?
A: Using a computer program I added color to various surfaces of the caterpillar so the printer would print out the caterpillar in color. I aimed for happy, spring pastels to get the cute and buggy feel of the caterpillar. I made the Cocoon cell phone with the same computer program but with a 3-D printer that prints in plastic materials. It took me almost half a semester to complete the whole process, but the cute little critter was worth it.
The little green monster, aka the two-headed caterpillar, has grills/teeth that spell out “New Text Message” and “Incoming Call”. The idea was to create a cell phone for a shy child [that would] help them make friends. So you have this two headed caterpillar that lives inside your PB&J brand Cocoon cell phone. The caterpillar’s job is to send text messages and call when the child is around his or her peers so he or she appears popular. Once the child makes a “real” friend, they can rip the caterpillar’s two heads apart and give one head to a friend like a friendship necklace! And now the child is a social butterfly. Ta-da!
Q: Would you play seven minutes in heaven with the green monster?
A: Hmm… maybe if Gypsum plaster and epoxy tasted like pudding.
Q: Your Baby Rattle for Conjoined Twins is adorable. Have you had the opportunity to test it out at all? What material did you use to make the rattle and what did you put inside of it?
A: “Test it out” as in…on conjoined twins? I’ve given it a little shake here and there, but alas, I know no conjoined twins.
I made [the rattle] in an Electroforming class, it’s hollow. I carved the babies out of wax, and then I coated the wax in a reactive metallic paint. When dipped into a bath of cyanide and other healthy things for you, the wax figures received a thin coating of copper. Then I melted out the wax and put in those plastic balls you find in Beanie Babies, I had to perform surgery on Chocolate the Moose.
Q: The Pudding loves toys and heavily supports the Jellyfish Toy for Mermaids. Emily, what process do you go through to create your work? Where do you you’re your inspiration?
A: In this case, the new 3-D printers my school received when we changed campuses inspired me to create this piece. One new material was this flexible, gummy-bear like plastic. I instantly thought of jellyfish. I think a jellyfish would make the coolest companion if they didn’t sting you all the time and didn’t have to live in water. Initially this project was supposed to be an earring for a mermaid. I created this metal perch for the mermaid to wear in her ear that the jellyfish was suppose to wrap its legs around. Unfortunately, I made the jellyfish way too big, so it worked better as a toy.
I love stories and in the end every one of my pieces has some kind of purpose or story behind it. I guess the books I read, the movies I see, the music I listen to, and the people I know are lodged into my memory and are regurgitated out in sculptural form, maybe?
Q: Your last few pieces are all jewelry, and beautiful jewelry at that. The pictures are so crisp and the pieces so clean that they don’t even look real. The piece of jewelry that really captivates me is your Jellyfish Pendant. It’s resemblance to the creature is uncanny and the detail immense. Can you please give us a run down on what this piece in particular means to you and if you plan on creating more like it in the future?
A: Oops. I guess I should have mentioned before that [the jewelry] isn’t actually real. They are computer renderings I made for my application to Tiffany and Co. that only exist on the computer. Your comment about their crispness and cleanness and how they don’t even look real is extremely observant. Basically, I had two weeks to create 15+ new pieces on the computer.
It’s also interesting you enjoy the Jellyfish Pendant, since it was a last minute idea. I already had the piece made on the computer for the mermaid toy, so I just rendered it in a metallic material instead of plastic on the computer and inserted a blue stone in between its legs. I’m in a stone-setting class right now so maybe I will be making actual pieces like this in the future.
I’m glad you think the jellyfish has immense detail. I took a book out of the library on jellyfish, I [studied] its anatomy, and then I created the simplified forms. Now that library is telling me I never returned that book and that I owe them seventy dollars. I’m pretty sure I returned it. Speaking of libraries, they are my favorite place to brainstorm.
Q: Recently you interned for Tiffany’s in New York. Any advice you can divulge regarding the importance of getting yourself out there, getting experience and overall knowledge level in your industry?
A: It’s all about who you know! Then, what experience you have, and then how hard you work. Those three things are so valuable. If you don’t work hard, you won’t gain experience, and if you don’t have experience, you won’t get to know anyone. You have to do all three continuously. The internship was valuable on all three accounts and I was very fortunate. They were an amazing company to work with and I learned a lot about the corporate and technical side of the jewelry industry.
Q: Thanks so much for the feature, Emily. Your work is amazing and The Pudding truly hopes to see more of it in the future. Where can we find more of it?
A: Thank you so much for the interview, Gian! Keep Puddinging!!! A website for my work is in process, and when it’s complete I will send you the link and maybe you can put it here instead of this sentence. Thanks again. And thanks for reading this, Pudding readers… [that’s] if your still reading this.
A: Hi, Gian. First of all, thank you so much for featuring my work! My One-Eye, One-Ear, Flying Bunny People Eater Bangle is made of Gypsum plaster coated in a clear epoxy resin to harden the material so it’s wearable. I created the entire piece on a computer first, then a 3-D printer at the school I attend (Tyler School of Art), and printed out the bangle three dimensionally! The computer program allows my work to have a lot of detail, such as the small figure inside the bunny’s mouth which is made up of 3-D spheres I manipulated [through] the program.
I think the young businesswomen could wear the bangle to an interview with a designer toy company like Kid Robot. However, walking into an interview with a rabid bunny in high heels flying around in a cape devouring humans left and right might give the wrong impression. [Especially] if it were an interview for say….an elementary school teacher. Of course, the interviewer wouldn’t understand the bunny is simply [executing] well earned revenge on the humans responsible for the death of his infamous lover, The One Eye, One Horn Flying Purple People Eater.
Q: I was looking at the Donut Shaped USB Organizer and was taken aback by your jump into a completely different medium. As I scrolled through the rest of your images, the contrasts in your pieces was astounding. How did you get into so many different forms of sculpture? Are there any particular mediums you favor over others?
A: Oh, I’d have to thank my major for that. In Metals/Jewelry/CAD-CAM you learn all sorts of ways to create art. I was almost a Sculpture major and in that major the possibilities for construction seem endless. I like working with more than one process at a time or else I become a little crazy. I like being able to create a piece on the computer one minute, then hop over to the next room and have a flame torch in my hand the next. Variation is key since I don’t like feeling pigeonholed.
For my Donut Shaped USB Organizer I had a goal of learning how to fabricate with metal, which I definitely learned to do and then some. Since then I’ve tried to learn at least one new method with each project. I try not to play favorites, but a part of me wishes I could take another Sculpture class so I can work with a welding machine again. My dream is to own a stick welder some day and create a huge playground for adult-sized people in my backyard *sigh*.
Q: So, I’ve been keeping it real with the flip phone for a while now, but sometimes I feel overshadowed by Smartphone users. It’s really refreshing to see that you’re still using the old fashioned flip phone as well, Emily. I’ve never seen the Social Butterfly with Cocoon phone before though. Do you have AT&T? Because I was just at the Verizon store the other day and didn’t see it anywhere.
A: I’ve been keeping it real with PB&J Wireless.
Q: The details in this piece are astounding. What exactly does the little green monster’s grill spell out? Looks like “New York”? Can you tell us the materials you used to construct the entire Social Butterfly phone? How long did it take you to perfect all the intricacies and decide on the final colors you wanted to incorporate?
A: Using a computer program I added color to various surfaces of the caterpillar so the printer would print out the caterpillar in color. I aimed for happy, spring pastels to get the cute and buggy feel of the caterpillar. I made the Cocoon cell phone with the same computer program but with a 3-D printer that prints in plastic materials. It took me almost half a semester to complete the whole process, but the cute little critter was worth it.
The little green monster, aka the two-headed caterpillar, has grills/teeth that spell out “New Text Message” and “Incoming Call”. The idea was to create a cell phone for a shy child [that would] help them make friends. So you have this two headed caterpillar that lives inside your PB&J brand Cocoon cell phone. The caterpillar’s job is to send text messages and call when the child is around his or her peers so he or she appears popular. Once the child makes a “real” friend, they can rip the caterpillar’s two heads apart and give one head to a friend like a friendship necklace! And now the child is a social butterfly. Ta-da!
Q: Would you play seven minutes in heaven with the green monster?
A: Hmm… maybe if Gypsum plaster and epoxy tasted like pudding.
Q: Your Baby Rattle for Conjoined Twins is adorable. Have you had the opportunity to test it out at all? What material did you use to make the rattle and what did you put inside of it?
A: “Test it out” as in…on conjoined twins? I’ve given it a little shake here and there, but alas, I know no conjoined twins.
I made [the rattle] in an Electroforming class, it’s hollow. I carved the babies out of wax, and then I coated the wax in a reactive metallic paint. When dipped into a bath of cyanide and other healthy things for you, the wax figures received a thin coating of copper. Then I melted out the wax and put in those plastic balls you find in Beanie Babies, I had to perform surgery on Chocolate the Moose.
Q: The Pudding loves toys and heavily supports the Jellyfish Toy for Mermaids. Emily, what process do you go through to create your work? Where do you you’re your inspiration?
A: In this case, the new 3-D printers my school received when we changed campuses inspired me to create this piece. One new material was this flexible, gummy-bear like plastic. I instantly thought of jellyfish. I think a jellyfish would make the coolest companion if they didn’t sting you all the time and didn’t have to live in water. Initially this project was supposed to be an earring for a mermaid. I created this metal perch for the mermaid to wear in her ear that the jellyfish was suppose to wrap its legs around. Unfortunately, I made the jellyfish way too big, so it worked better as a toy.
I love stories and in the end every one of my pieces has some kind of purpose or story behind it. I guess the books I read, the movies I see, the music I listen to, and the people I know are lodged into my memory and are regurgitated out in sculptural form, maybe?
Q: Your last few pieces are all jewelry, and beautiful jewelry at that. The pictures are so crisp and the pieces so clean that they don’t even look real. The piece of jewelry that really captivates me is your Jellyfish Pendant. It’s resemblance to the creature is uncanny and the detail immense. Can you please give us a run down on what this piece in particular means to you and if you plan on creating more like it in the future?
A: Oops. I guess I should have mentioned before that [the jewelry] isn’t actually real. They are computer renderings I made for my application to Tiffany and Co. that only exist on the computer. Your comment about their crispness and cleanness and how they don’t even look real is extremely observant. Basically, I had two weeks to create 15+ new pieces on the computer.
It’s also interesting you enjoy the Jellyfish Pendant, since it was a last minute idea. I already had the piece made on the computer for the mermaid toy, so I just rendered it in a metallic material instead of plastic on the computer and inserted a blue stone in between its legs. I’m in a stone-setting class right now so maybe I will be making actual pieces like this in the future.
I’m glad you think the jellyfish has immense detail. I took a book out of the library on jellyfish, I [studied] its anatomy, and then I created the simplified forms. Now that library is telling me I never returned that book and that I owe them seventy dollars. I’m pretty sure I returned it. Speaking of libraries, they are my favorite place to brainstorm.
Q: Recently you interned for Tiffany’s in New York. Any advice you can divulge regarding the importance of getting yourself out there, getting experience and overall knowledge level in your industry?
A: It’s all about who you know! Then, what experience you have, and then how hard you work. Those three things are so valuable. If you don’t work hard, you won’t gain experience, and if you don’t have experience, you won’t get to know anyone. You have to do all three continuously. The internship was valuable on all three accounts and I was very fortunate. They were an amazing company to work with and I learned a lot about the corporate and technical side of the jewelry industry.
Q: Thanks so much for the feature, Emily. Your work is amazing and The Pudding truly hopes to see more of it in the future. Where can we find more of it?
A: Thank you so much for the interview, Gian! Keep Puddinging!!! A website for my work is in process, and when it’s complete I will send you the link and maybe you can put it here instead of this sentence. Thanks again. And thanks for reading this, Pudding readers… [that’s] if your still reading this.
Image Key:
1. One-Eye, One-Ear, Flying Bunny, People-Eater Bangle
2. One-Eye, One-Ear, Flying Bunny, People-Eater Bangle detail
3. Donut shaped USB drive organizer clip-on
4. Donut shaped USB drive organizer clip-on detail
5. Soon to be Social Butterfly with Cocoon Cellphone
6. Soon to be Social Butterfly with Cocoon Cellphone detail
7. Soon to be Social Butterfly with Cocoon Cellphone detail
8. Soon to be Social Butterfly with Cocoon Cellphone detail
9. Baby Rattle for Conjoined Twins (position one)
10. Baby Rattle for Conjoined Twins (position two)
11. Spiral Rings in florescent yellow and deep purple
12. Spiral Rings in florescent yellow and deep purple detail
13. Jelly Fish Toy for Mermaids
14. Morning Cuffs for the Widows of Bullfighters, Trapeze Artists, and Human Cannon Balls
15. Labyrinth Brooch
16. Vespa Charm
17. Pretzel Charm
18. Jellyfish Pendant
19. Simplified Labyrinth Bangles
2. One-Eye, One-Ear, Flying Bunny, People-Eater Bangle detail
3. Donut shaped USB drive organizer clip-on
4. Donut shaped USB drive organizer clip-on detail
5. Soon to be Social Butterfly with Cocoon Cellphone
6. Soon to be Social Butterfly with Cocoon Cellphone detail
7. Soon to be Social Butterfly with Cocoon Cellphone detail
8. Soon to be Social Butterfly with Cocoon Cellphone detail
9. Baby Rattle for Conjoined Twins (position one)
10. Baby Rattle for Conjoined Twins (position two)
11. Spiral Rings in florescent yellow and deep purple
12. Spiral Rings in florescent yellow and deep purple detail
13. Jelly Fish Toy for Mermaids
14. Morning Cuffs for the Widows of Bullfighters, Trapeze Artists, and Human Cannon Balls
15. Labyrinth Brooch
16. Vespa Charm
17. Pretzel Charm
18. Jellyfish Pendant
19. Simplified Labyrinth Bangles
Featured Artist: Aly Boyd - 9.14.2009
Interview by: Gian Hunjan
Q: Aly, when I downloaded your images the first one that popped up was Battle of the Sexes. I’ve never seen a painting so full of color. It looks like you painted over colors in the piece, how did you end up creating such a vibrant image?
A: The image came from a quick sketch I did that was inspired by vaginas, teeth, and zippers. I drew this image on a large scale and from there the color became intuitive, or rather a summation of all the color research and experience I have done. I used a lot of thin layers of paint to create vibrancy. Painting is very physical to me and a lot of the color I use is impulsive as I respond to the work I am making.
Q: How do you get started on a painting? All of your color choices seem very firm as if you just go in with a few bases and never stray from your initial thought. How do you know when you’re finished?
A: I start by putting paint down. I ususally have a vague idea of what the painting will look like when I'm finished but it almost always ends up going in a completely different direction. The most important part of getting started for me is to cover the canvas. Even if the first layer of paint looks awful, it gives me a starting point. I paint over paintings a lot. I feel confident in my brushstrokes and color choices as I put them down then I usually wipe them out and start from the beginning again.
Q: All of your images just catch the eye upon first glance. Is that an important element to creating your work Aly? For example your fourth image, with the black paint over the light blue. Those are daring colors to combine; yet you pull it off seamlessly.
A: Eye-catching isn't priority, but I am aware of that quality in my work. I am more interested in what happens after the first impression. I hope to draw the viewer in with my color and keep them there with the application of paint and the content. Since most of my paintings are large scale, I intend for the viewer to feel enclosed or slightly threatened by my paintings. I want my work to be confrontational.
Q: Where do you see your art going in the future? Have you found a specific medium to display yourself, or do you just enjoy experimenting with different avenues of expression?
A: My mind thinks 2 Dimensionally. I may stray to different media at some point but ultimately I think like a painter. And I always think in terms of color.
Q: Do you have any primary influences that you try to reflect in your art? Or just anyone or anything in general you keep in mind when going through the creating process?
A: Influences include but are not limited to: Matisse, genitalia, India, Mary Heilmann, Elizabeth Murray, German Expressionism, landscape, technological advances
Q: When you’re looking at other artist’s work around campus or at a gallery, what intrigues you? What are a couple specific aspects of paintings you are particular about and look for in other’s work?
A: Color is the most important!!! But great color is not just bright and eye catching. A good colorist can use only "whites" or "blacks." A refreshing form of communication is important as well.
Q: Thanks so much for the feature Aly, The Pudding hopes to see you and your work again soon. For those who want to see some more of your work and progression, where can they look?
A: my blog! http://www.alydrawspictures.blogspot.com
A: The image came from a quick sketch I did that was inspired by vaginas, teeth, and zippers. I drew this image on a large scale and from there the color became intuitive, or rather a summation of all the color research and experience I have done. I used a lot of thin layers of paint to create vibrancy. Painting is very physical to me and a lot of the color I use is impulsive as I respond to the work I am making.
Q: How do you get started on a painting? All of your color choices seem very firm as if you just go in with a few bases and never stray from your initial thought. How do you know when you’re finished?
A: I start by putting paint down. I ususally have a vague idea of what the painting will look like when I'm finished but it almost always ends up going in a completely different direction. The most important part of getting started for me is to cover the canvas. Even if the first layer of paint looks awful, it gives me a starting point. I paint over paintings a lot. I feel confident in my brushstrokes and color choices as I put them down then I usually wipe them out and start from the beginning again.
Q: All of your images just catch the eye upon first glance. Is that an important element to creating your work Aly? For example your fourth image, with the black paint over the light blue. Those are daring colors to combine; yet you pull it off seamlessly.
A: Eye-catching isn't priority, but I am aware of that quality in my work. I am more interested in what happens after the first impression. I hope to draw the viewer in with my color and keep them there with the application of paint and the content. Since most of my paintings are large scale, I intend for the viewer to feel enclosed or slightly threatened by my paintings. I want my work to be confrontational.
Q: Where do you see your art going in the future? Have you found a specific medium to display yourself, or do you just enjoy experimenting with different avenues of expression?
A: My mind thinks 2 Dimensionally. I may stray to different media at some point but ultimately I think like a painter. And I always think in terms of color.
Q: Do you have any primary influences that you try to reflect in your art? Or just anyone or anything in general you keep in mind when going through the creating process?
A: Influences include but are not limited to: Matisse, genitalia, India, Mary Heilmann, Elizabeth Murray, German Expressionism, landscape, technological advances
Q: When you’re looking at other artist’s work around campus or at a gallery, what intrigues you? What are a couple specific aspects of paintings you are particular about and look for in other’s work?
A: Color is the most important!!! But great color is not just bright and eye catching. A good colorist can use only "whites" or "blacks." A refreshing form of communication is important as well.
Q: Thanks so much for the feature Aly, The Pudding hopes to see you and your work again soon. For those who want to see some more of your work and progression, where can they look?
A: my blog! http://www.alydrawspictures.blogspot.com
Image Key:
1. Battle of the Sexes
2. In and Out
3. Chew and Spit
4. Untitled
5. Push It!
6. Onommatopoeia
7. Missed Connection
8. On Top
2. In and Out
3. Chew and Spit
4. Untitled
5. Push It!
6. Onommatopoeia
7. Missed Connection
8. On Top
Featured Artist: Daniel Feeser - 9.7.2009
Interview by: Gian Hunjan
Q: Hi Dan, thanks for showing your work to The Pudding and it’s viewers. Lets just jump right into it, what exactly is the project you are working on right now? And what is in those stockings hanging from the ceiling?
A: Actually, the stockings are a part of another artist’s work in a collaborative show. The stockings were environments for grasshoppers that helped transform the typical gallery space into a living environment. My work in the show centered on the bilge pumps, which moved tap water from the beginning of the show to the end. I attempted to get the tap water to a more natural state, one by letting it sit out and two by filtering it through natural materials such as silt, sand, stone and raw cotton. The end point for the water was the moss that began to create itself a second generation by the end of the show.
Q: There have been a couple featured Pudding Artists that have worked on projects along the same lines as yours. Have you been noticing a trend towards working with raw nature lately in the artist community?
A: During this stage of my work, I am realizing how important it is to find function in nature and using what is at hand. More and more I am trying to figure out why I am using particular types of mediums. I do not want to go to an art store to buy my materials when there are so many materials laying around Philadelphia. So, I believe there are many reasons for the artist community incorporating raw materials into their work. It is a way to steer clear from the typical manufactured substances. Artists need to become creative about what and how they use what they have at hand. The negative impact of materials should be non-existent. This is one ideal I am pushing for in my future work and I believe many other artists are. Artists should not be another consumer contributing to all the wasteful packaging, especially in their work.
Q: I’ll be honest Dan, right now I’m on the second level of a “Megabus” writing this interview, and more importantly, the bus is equipped with free Internet. What I’m trying to get at is technology. Although you are working with pure elements of nature, how reliant are you on modern technology to see your work flourish? For example Nocturnal Plant.
A: Some down play modern technology, but I believe the more modern technology becomes the more in tune with nature it will be. Before new inventions hit the market, their impact should be considered, so it is understandable that there is frustration when this does not always occur. We have a quick fix society.
Nocturnal Plant used a solar panel as a means of energy for the plant. Because the plant could only be lit during the night after the solar panel charged the battery, the plant had to learn to find its energy during the time period the artificial light was given. Technology is great, but sometimes we need to take a step back to understand its benefits and downfalls. Nocturnal Plant is a statement on unnecessary energy transferal. Why should we try to change a natural function when that function was doing well on its own?
Q: Dan can you tell us about DSCN4013? What is the insulation and have you ever slept inside of the box?
A: This project is from a year ago. I collected lint from Laundromats in Philadelphia. Lint can be used as insulation, so I used the lint to create walls for a cube shelter. I have never slept in the box, but the insulation collects your body heat. My objective in this piece was rather simple. I found lint and used its function, which was insulation.
Q: Its always interesting to hear when artists began to find their focus on a specific craft. When did you start to find that your current endeavors are what you want to focus on, and incorporate into your future?
A: Now, I would not say I am stepping away from the art realm but I plan to use my experiences to generate more of a dialogue with landscape architecture. Previously, I have used manned technology, but I need to steer away from this so I can further my knowledge in another realm, the structure of nature. I have helped create the first Temple Community Garden on Temple’s main campus and it is still under construction, but using as many salvaged materials as possible was essential. I plan to use this project as a means to incorporate more practical and functional based work. Working as an artist, I want to focus on generating relationships amongst people in different fields that have the same desire to improve what we have tarnished.
Q: Does it get difficult for you to find the materials to create your work once the cold months start hitting? Especially in a city like Philadelphia, there is not an abundance of natural resources within arms reach as opposed to in a more bucolic suburb. How do you cope? Where would be your ideal setting?
A: Now that I am helping to create the first vegetable garden on Temple’s campus, I am learning that growing season does not stop. So winter months are not a hurdle for myself considering some plants can still grow. In comparison, an artist should not be halted by the changing seasons. Rolling with the punches is an essential element for bypassing roadblocks. The Temple Community Garden will have a hoop structure over the vegetables to protect from snow and possible frost. There is always another way to make something happen. My ideal setting for work, would be a location that needs to be regenerated into a fertile land.
Q: In closing, just want to say thanks again Dan. The Pudding hopes to see you back soon. Is there any advice you can divulge to future students who may end up following a similar path as yourself? Where can we see some more of your work and the progress of your current projects?
A: I believe that your work should not only be beneficial to yourself but the world around you. Your work should educate and inform individuals. Artists should be doing collaborative work, not just with people in the same field. There should be an interaction between artists, scientists, horticulturalists, architects, and ect. If knowledgeable and creative minds join forces more will be accomplished.
To view projects that I am currently working on, you may check out Temple Community Garden at http://templecommunitygarden.blogspot.com. For other work check out: http://www.myartspace.com/Daniel.Feeser/. Thank you for this opportunity!
A: Actually, the stockings are a part of another artist’s work in a collaborative show. The stockings were environments for grasshoppers that helped transform the typical gallery space into a living environment. My work in the show centered on the bilge pumps, which moved tap water from the beginning of the show to the end. I attempted to get the tap water to a more natural state, one by letting it sit out and two by filtering it through natural materials such as silt, sand, stone and raw cotton. The end point for the water was the moss that began to create itself a second generation by the end of the show.
Q: There have been a couple featured Pudding Artists that have worked on projects along the same lines as yours. Have you been noticing a trend towards working with raw nature lately in the artist community?
A: During this stage of my work, I am realizing how important it is to find function in nature and using what is at hand. More and more I am trying to figure out why I am using particular types of mediums. I do not want to go to an art store to buy my materials when there are so many materials laying around Philadelphia. So, I believe there are many reasons for the artist community incorporating raw materials into their work. It is a way to steer clear from the typical manufactured substances. Artists need to become creative about what and how they use what they have at hand. The negative impact of materials should be non-existent. This is one ideal I am pushing for in my future work and I believe many other artists are. Artists should not be another consumer contributing to all the wasteful packaging, especially in their work.
Q: I’ll be honest Dan, right now I’m on the second level of a “Megabus” writing this interview, and more importantly, the bus is equipped with free Internet. What I’m trying to get at is technology. Although you are working with pure elements of nature, how reliant are you on modern technology to see your work flourish? For example Nocturnal Plant.
A: Some down play modern technology, but I believe the more modern technology becomes the more in tune with nature it will be. Before new inventions hit the market, their impact should be considered, so it is understandable that there is frustration when this does not always occur. We have a quick fix society.
Nocturnal Plant used a solar panel as a means of energy for the plant. Because the plant could only be lit during the night after the solar panel charged the battery, the plant had to learn to find its energy during the time period the artificial light was given. Technology is great, but sometimes we need to take a step back to understand its benefits and downfalls. Nocturnal Plant is a statement on unnecessary energy transferal. Why should we try to change a natural function when that function was doing well on its own?
Q: Dan can you tell us about DSCN4013? What is the insulation and have you ever slept inside of the box?
A: This project is from a year ago. I collected lint from Laundromats in Philadelphia. Lint can be used as insulation, so I used the lint to create walls for a cube shelter. I have never slept in the box, but the insulation collects your body heat. My objective in this piece was rather simple. I found lint and used its function, which was insulation.
Q: Its always interesting to hear when artists began to find their focus on a specific craft. When did you start to find that your current endeavors are what you want to focus on, and incorporate into your future?
A: Now, I would not say I am stepping away from the art realm but I plan to use my experiences to generate more of a dialogue with landscape architecture. Previously, I have used manned technology, but I need to steer away from this so I can further my knowledge in another realm, the structure of nature. I have helped create the first Temple Community Garden on Temple’s main campus and it is still under construction, but using as many salvaged materials as possible was essential. I plan to use this project as a means to incorporate more practical and functional based work. Working as an artist, I want to focus on generating relationships amongst people in different fields that have the same desire to improve what we have tarnished.
Q: Does it get difficult for you to find the materials to create your work once the cold months start hitting? Especially in a city like Philadelphia, there is not an abundance of natural resources within arms reach as opposed to in a more bucolic suburb. How do you cope? Where would be your ideal setting?
A: Now that I am helping to create the first vegetable garden on Temple’s campus, I am learning that growing season does not stop. So winter months are not a hurdle for myself considering some plants can still grow. In comparison, an artist should not be halted by the changing seasons. Rolling with the punches is an essential element for bypassing roadblocks. The Temple Community Garden will have a hoop structure over the vegetables to protect from snow and possible frost. There is always another way to make something happen. My ideal setting for work, would be a location that needs to be regenerated into a fertile land.
Q: In closing, just want to say thanks again Dan. The Pudding hopes to see you back soon. Is there any advice you can divulge to future students who may end up following a similar path as yourself? Where can we see some more of your work and the progress of your current projects?
A: I believe that your work should not only be beneficial to yourself but the world around you. Your work should educate and inform individuals. Artists should be doing collaborative work, not just with people in the same field. There should be an interaction between artists, scientists, horticulturalists, architects, and ect. If knowledgeable and creative minds join forces more will be accomplished.
To view projects that I am currently working on, you may check out Temple Community Garden at http://templecommunitygarden.blogspot.com. For other work check out: http://www.myartspace.com/Daniel.Feeser/. Thank you for this opportunity!
Image Key:
1. Plant Canopy - Motorized canopy that opens in the morning for a shasta daisy, and slowly closes throughout the day to sleep.
2. Plant Canopy
3. Plant Canopy
4. Nocturnal Plant
5. Metal Fab.- Portable air filtration device.
6. Metal Fab.
7. Metal Fab.
8. Untitled
9. Reversing Filtration
10. Reversing Filtration
11. Reversing Filtration - Moss endpoint
12. Reversing Filtration
13. Reversing Filtration
14. Reversing Filtration
15. Reversing Filtration
2. Plant Canopy
3. Plant Canopy
4. Nocturnal Plant
5. Metal Fab.- Portable air filtration device.
6. Metal Fab.
7. Metal Fab.
8. Untitled
9. Reversing Filtration
10. Reversing Filtration
11. Reversing Filtration - Moss endpoint
12. Reversing Filtration
13. Reversing Filtration
14. Reversing Filtration
15. Reversing Filtration
