Sketch Cinema: Digital Zone
Free Admission
RSVP here!
FRIDAY, July 21st @ 6:30 - 9:00pm
18+
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Movies and drawing go together like popcorn and seasoned salt, so join us for a back-to-back double feature of both classics and not-so-classics. Grab a sketchbook, a few friends, and your best film appreciation glasses and hang out with us! Each month will have a different movie theme and a different creative challenge with big prizes.
This month, we’re entering the Digital Zone. These 1995 classics revolve around the world of computers from both the past... and the future. We’ll start our journey with Iain Softley’s Hackers, a story about corrupt corporations and the teens that take them down. Hackers stars Angelina Jolie and Jonny Lee Miller, and is rated PG-13 for strong language. Run time: 1h47m
The second film, Johnny Mnemonic, stars a young Keanu Reeves in a race against time… and the internet of 2021. During this showing we’ll also have a special drawing challenge that will be announced at the event. Johnny Mnemonic is rated R for Strong Sci-Fi Violence and Language. Run time: 1hr47m
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Sketch Cinema is a low-pressure movie and draw night hosted at Light Grey. The event happens every 3-4 weeks, and if drawing isn’t your thing that’s ok! Feel free to kick back and enjoy the rotating cast of hand-selected flicks.
THINGS TO BRING:
A sketchbook and your preferred tools
This event is open to the public and free, so feel free to bring a friend! The event is 18+
Feel free to RSVP online on our Facebook Event Page HERE
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We will be planning more Sketch Cinema events for the summer and fall seasons and beyond! Stay tuned for more!
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Young Mystics: Carl Jung - Inner and Outer Worlds
Young Mystics - Carl Jung: Inner & Outer Worlds
$5 / free for students (just bring your ID) — drop ins welcome!
RSVP here!
THURSDAY, July 20th @ 6:30 - 9:00pm
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Join us for an evening lecture and discussion on Jung's theories of awareness, perception and consciousness. Jung defines the inner world as the way our perception colors everything outside of ourselves. Our realities are shaped by how we percieve -- So how does one begin to see what's beyond one's self, and what benefits come from expanding our sphere of consciousness?
This is one in a series of workshops / meet-ups at Light Grey that take a look at psychological, mystical, or esoteric themes. Look for more upcoming Young Mystics classes and related make-and-take workshops this year!
Join Young Mystics instructor, Calvin Bauer, in exploring many of the concepts in "The I and the Not I" by Mary Esther Harding - a book on the "Jungian concept of ego development and Jung's theory of personality structure, the the collective unconscious, animus, shadow and archetypes." -- (a quote from Amazon)
This meet-up is for anyone looking to expand their knowledge of Jungian theory or looking for a space to reflect, learn, and develop their understanding of their own inner and outer worlds. We will have a part-lecture, part discussion with time to reflect and enjoy exploring new theories with like-minded people.
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No knowledge of Jung or the topic is necessary to join! Come for the discussion and stay for the coffee and tea!
THINGS TO BRING:
Bring a notebook and writing utensil to take notes!
This event is open to the public, so feel free to bring a friend!
Class is $5 / Free for students (just bring your ID).
Feel free to RSVP online on our Facebook Event Page HERE
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We will be planning more Young Mystics meet-ups for the summer and fall seasons! Stay tuned for more!
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About Young Mystics:
Light Grey Art Lab's Young Mystics meet-ups allow curious minds to explore metaphysical and mystical concepts with an enthusiastic and encouraging community of individuals with backgrounds in art, symbolism, philosophy, Tarot, and other esoteric interests. Classes are held every two-three weeks at Light Grey on a variety of rotating subjects! Check the Facebook page for upcoming events. All events are drop-in and open to the public! Everyone is welcome!
Light Grey Game Night: Cyberpunk
There are autonomous drones buzzing overhead, riots are broadcasted in real-time, high-resolution streams directly to social media, Virtual Reality headsets are a dime a dozen at the local Target, and we're all carrying more tech in our pockets than the average gargoyle from Neal Stephenson's iconic sci-fi novel Snow Crash. Real talk; the dystopian Cyberpunk future we've always dreamed about is here. If you're ready to jack in your implants and hack the system, it must be time for another Light Grey Game Night! So mark your calendar for Thursday, July 13th from 6:30 - 9:30 pm!
As you might remember, we're attaching a theme to each night to help people narrow down what games they might want to bring (although you're still welcome to bring whatever you'd like!). This week's theme is Cyberpunk!
Use your synthetic humanoid technology to break into mega-corp CyberSolutions Inc. and commit futuristic larceny in Android: Infiltration, put together a crew and take on some questionable 'freelance' in Shadowrun: Crossfire, or suit up for the day job in a struggle for sinister corporate domination in New Angeles, among plenty of others! If you have a favorite boardgame, bring it!
So grab your friends, family or favorite stack of board games, and come play with us! RSVP via our Facebook event, and feel free to share! The more the merrier!
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And if you're a fan of cyberpunk, movies, drawing, or FUN, then check out Light Grey Art Lab's newest extracurricular activity: Sketch Cinema! Sketch Cinema is a reoccurring night to visit the gallery for an evening of classic movies and drawing! Sketch Cinema: Digital Zone is the first event, and will be showing two 90's films from Cyberpunks heyday, Johnny Mnemonic and Hackers!
Fairly Dark + Artist Talk + Drink & Draw
Fairly Dark Opening Reception / July 7th
Artist Talk - 7-8 PM
Drink & Draw hosted by THE VACVVM - 8-10 PM
Facebook Invite
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As Minneapolis plunges headlong into summer, the sun may stay out longer each day, but the nights are still plenty dark. With that in mind, Light Grey Art Lab will be unveiling Fairly Dark, a collection of solo exhibitions featuring new work from Nico Delort, Sishir Bommakanti, Natalie Hall, and Kathleen Jennings that explores all things mysterious, shadowy, and beautiful.
Nico Delort creates narrative-focused, intensely detailed drawings using the reductive medium of ink and scratchboard. Combined with Delort’s patience and dedication to craft, this medium gives his work a uniquely classic style which could easily live alongside etchings from eras long past. Known for his meticulous craft, time-honored aesthetics, and a dramatic approach to light and dark, his evocative black and white drawings create mysteries from stirring environments, cinematic compositions, and fantastical characters. Delort creates drawings, illustrations, and limited-edition posters across a variety of industries and his clients include Lucasfilm, Penguin Books, Mondo, and Blizzard Entertainment.
Sishir Bommakanti’s works exist on the fringes, exploring the corners of the weird, ancient, paranormal, morbid and everything in-between. His illustration work is a synergy of abstract narrative and experimental media and often feel halfway between consciousness and waking from a nightmare. Bommakanti is always creating, sketching, drawings, painting - and these dark and frenetic images are layered and recomposed to create mood and narrative. The separate elements have been drawn from a variety of references throughout time and space, all clumped and collaged together to produce some form of narrative apophenia. Sishir has created work for publications such as Popular Mechanics, Broken Eye Books, Nautilus Magazine, Narratively, UNRB, and The Pitch.
Natalie Hall’s gorgeous, gestural drawings could be mistaken for drawings pulled from an explorer's journal after an ill-fated expedition into a dark and fantastic land. Filled with gothic characters, monsters that can be simultaneously grotesque and graceful, and mystical symbolism, Hall is known for her luscious and gestural sketchbooks and will showcasing several during Fairly Dark for visitors to pour over. Hall is an LA-based tattoo artist and illustrator who has created work for Dreamworks, RIOT Games, and Guillermo Del Toro.
Kathleen Jennings is an award-winning illustrator and writer based in Brisbane, Australia whose work has roots in the past, with characters and details that would not seem out of place in a century-old illustrated book. Her mediums of choice lend themselves to this aesthetic, working in pen and ink and cut paper silhouettes that can seem effortless and charming, but often reveal a sometimes dry and morbid, Gorey-esque sense of humor. Drawing heavily from folklore and fairytales, Jennings' work feels at once modern and timeless. Over her career, Jennings’ has illustrated for clients such as Tor.com, Small Beer Press, Subterranean Press, Tartarus Press, Ticonderoga Publications, FableCroft Press, Odyssey Press, Andromeda Spaceways Inflight Magazine and Canberra Speculative Fiction Guild.
The opening reception for Fairly Dark is Friday, July 7th from 7-10 PM. The evening kicks off with an open and frank discussion artist talk followed by a Q&A session with the audience. A Drink & Draw will immediately follow the artist talk, and visitors are invited to pull out their sketchbooks, grab a seat, and join members of the international illustration collective THE VACVVM as they create, converse, and share a laugh over drinks around Light Grey Art Lab’s banquet tables. Panel participants and local creatives will be on hand for conversation and art-making in a relaxed atmosphere, surrounded by the new work featured in the Fairly Dark collection. Light Grey Art Lab will have refreshments of all varieties on hand, so visitors of all ages are invited to participate. The work will remain on display through September 1st. The opening reception is free and open to the public.
Light Grey Game Night: Summer Camp
Children are running wild in the streets, the days are long and lazy, and the night sky glows with fireflies and crackling bonfires. With summer comes the hallmark of American youth; Summer Camp. If you've got the urge to break out your best pair of short-shorts and down a big jug of bug-juice, it must be time for another Light Grey Game Night! So mark your calendar for Thursday, June 29th from 6:30 - 9:30 pm.
As you might remember, we're attaching a theme to each night to help people narrow down what games they might want to bring (although you're still welcome to bring whatever you'd like!). This week's theme is Summer Camp!
Grab a canoe and head down the river in Lewis and Clark, build the perfect fire from scratch in Robinson Crusoe, or put on your best performance for the talent show in Histrio, among plenty of others! If you have a favorite board game, bring it!
So grab your friends, family or favorite stack of board games, and come play with us! RSVP via our Facebook event, and feel free to share! The more the merrier! See you Thursday!
Podcast: Megan Nicole Dong & Stu Livingston Artist Talk
Megan Nicole Dong and Stu Livingston Artist Talk
Length: 00:55:14
Synopsis: This week's podcast features Megan Nicole Dong and Stu Livingston's artist lecture, which took place at Light Grey Art Lab prior to the Color Anthropology opening reception on Friday, April 21st. Megan is currently a director at Nickelodeon Animation Studios, and still finds time to create hilarious comics under the name Sketchshark, for which she's found a massive audience online. Stu recently finished co-directing "Hey Arnold!: The Jungle Movie" for Nickelodeon Animation Studios and has previous credits on "Futurama," "Steven Universe" and "Clarence," and his personal comics have appeared in numerous anthologies nationwide. Together they share a bit about their respective backgrounds and journey to where they are now, before turning to the audience for some thoughtful Q&A about work/life balance, fulfilling creative needs, and the nuts and bolts of working in the animation industry.
Workshop : Nico Delort: The Dramatic Effect - Capturing Mood in Narrative
Camouflage : Online Gallery
Wanderlust - Online Gallery
Wee Foxes: A Reflection - Online Gallery
Unimaginable Animals - Online Gallery
The Endless Quest - Online Gallery
A Biographical Representation of Life in the Forest - Online Gallery
Young Mystics
Light Grey Game Night
Podcast: Vin Diesel, Actually
Vin Diesel, Actually
Length: 01:13:11
Synopsis: Just like the title of this podcast, sometimes it's best not to think too hard about things. At our core, we're all a constant swirling evolution of ideas, identity, and goals, and if you have to deliberate over every decision, you might find yourself getting bogged down by it all. For this week's podcast, Lindsay, Jenny, and Chris are joined by the newest additions to the Light Grey team, James Lavella and Calvin Bauer, to discuss the art not overthinking decisions and allowing change to happen.
Show Notes:
Camouflage : Online Gallery
Wanderlust - Online Gallery
Wee Foxes: A Reflection - Online Gallery
Unimaginable Animals - Online Gallery
The Endless Quest - Online Gallery
A Biographical Representation of Life in the Forest - Online Gallery
Workshop : Nico Delort: The Dramatic Effect - Capturing Mood in Narrative
Young Mystics
Light Grey Game Night
Light Grey Game Night: Auction House
If you're a bargain hunter to the core, there's nothing like a good old-fashioned auction to get the blood pumping. With a juicy prize on the line, a friendly day at the market can turn into a steely-eyed showdown in a heartbeat. If you feel ready to host your own reality TV show about haggling old fogies away from their beloved family heirlooms for mere pennies, it must be time for another Light Grey Game Night! So mark your calendar for Thursday, June 15th from 6:30 - 9:30 pm.
As you might remember, we're attaching a theme to each night to help people narrow down what games they might want to bring (although you're still welcome to bring whatever you'd like!). This week's theme is Auction House!
Invoke the favor of the gods for the best deals in the high-stakes Egyptian auction game Ra, bid for the precious resources to survive the zombie apocalypse in the campy Hit Z Road, or set cut-throat prices and make that dastardly McNeacail clan pay through nose in Isle of Skye : From Chieftain to King, among plenty of others! If you have a favorite board game, bring it!
So grab your friends, family or favorite stack of board games, and come play with us! RSVP via our Facebook event, and feel free to share! The more the merrier! See you Thursday!
Artist Interview with Kelsey Oseid
Meet Kelsey, a Minneapolis-based illustrator, author, and naturalist. She often creates posters of different animals in series such as Kelzuki’s Animal Kingdom and Ocean Giants. She also wrote and illustrated What We See in the Stars: An Illustrated Tour of the Night Sky releasing this fall and available for preorder now!
Kelsey’s work is characterized naturalistic gouache paintings of any and all kinds of animals. Much of her work is reminiscent of field guide illustration, and is charming, detailed, and informational. She has a lot of love for the natural world, and it shows in her art. We’re excited to exhibit her work as a local artist in the Page Gallery. For more of her work, visit her website, or her other links below the interview!
Enjoy!
Can you tell me more about yourself, your creative background, hometown, schooling, accomplishments, etc.
Yes! I was born in Minneapolis and have lived here most of my life, excepting my time in Chicago for college--I have a degree in Visual Communications and a degree in Sociology from Loyola University Chicago. My dad taught me how to paint when I was really young, and we would paint together- we took a few classes together at the Minnesota School of Botanical Art when I was a teenager and that kind of sent me on a path of really loving nature art. I've illustrated a few educational children's books, including a fun and silly one called "Whose Poop is That" for young readers, about different animals and their scat. My first author/illustrated book is coming out this September from Ten Speed Press. It's called "What We See in the Stars" and it's an illustrated tour of the myths, histories, and science of the celestial bodies of our solar system, with stories and information about constellations, planets, comets, the northern lights, and more.
What does your studio/workspace look like? What’s your dream workspace?
I work in a spare bedroom in my house and I am lucky to have it all to myself! I have a workspace set up against one wall, which includes my desktop Mac, my scanner, and room for me to paint and draw as well. It's nice since I often am scanning, Photoshopping, and painting in turn throughout the day. And then the walls are covered in inspiration images- wildlife photos torn from magazines, nature art by other illustrators, deer skulls, feathers, dried flowers, and some treasured drawings I have that my dad did as a teenager. I am in my dream workspace. I LOVE being able to surround myself with the things I find beautiful.
What do you love most about your own work? What sorts of themes, ideas, philosophies do you incorporate into your practice?
My work has narrowed in content over the past few years, and I'm currently spending most of my time illustrating natural history subjects- primarily animals. I am a massive natural history nerd, so what I love MOST about my work is that it justifies my spending obsessive amounts of time learning about natural history! I'm not a scientist, but I think of myself as a science enthusiast- my worldview is really centered around science and the more I can celebrate and promote that, the better! I have personally coined the embarrassing word "celebra-cational"- this is my first time admitting that publicly, ha!- which is what I kind of think of my work as being. It's halfway between a celebration of the natural world and education about it. I want everything I make to have an educational element, but I also always want it to feel beautiful and honoring and celebratory about the Earth's amazing bounty and complexity.
What is your creative process like? Is it made of simple linear steps or do you just wing it? What kind of research goes into your process?
It depends on how much time I have, and whether I'm working with a science consultant, but my ideal process is to really delve into all the source material I can find related to the species I'm illustrating. Even though my style is a little whimsical and stylized, I still like to be scientifically accurate within those boundaries, with regards to anatomy, proportion, etc. I always start with Google images, which I'm not ashamed to admit. How amazing is it that we have such a thorough library of encyclopedic resources at our fingertips?! Then I usually move on to reading up on the species via some of the nature guides I have at home, and websites like National Geographic, IUCN, and the World Wildlife Fund. If I can find video of the species in action, I watch that too. Mostly, I want to understand the key descriptors of the species so I can represent it well. But also, I just like to nerd out about zoology.
How do you stay inspired to create? Do you keep a journal or sketchbook?
I keep a running list of ideas in a journal, but I'm awful about sketching. It's something I'd like to get better at, but I never have the time or the patience- I just want to get right into the final product. As a nature illustrator, I'm constantly inspired. Checking in on nature news and facts- especially related to animals- is a daily touchstone for me. I love watching animal documentaries, and there are so many incredible people making them nowadays, it's like an endless pool of inspiration. When I'm in a slump and feeling uninspired, there are a few classic naturalists and conservationists whose work I look to, to reignite my passion. I'll just watch a bit of David Attenborough, or read some Jane Goodall or EO Wilson, and try and absorb some of their excitement and devotion to the natural world.
What do you love about the natural world? Where do you think this fascination comes from?
David Attenborough says that all children are fascinated by nature when they're young, but they often lose that fascination as they grow up. So I may just never have lost it. I will say there is often a definite "childlike" vibe to my work, just by the nature of the style and the subject matter. People sometimes describe my taxonomy illustrations as "nursery decor," and I know there are lots of young kids who connect with it (which is so awesome). There's something about nature that kind of captures that youthful sense of imagination and wonder. I guess I'm trying to reconnect with that in the work I make. By the way, I think my work can be for people of all ages! (But I did recently hear from a parent that their two kids were having a fight over who got to have their Lepidoptera poster- from my shop- in their room, so they had to take turns. That made me extremely happy!!!)
How do you gather resources and materials to create? What sorts of things do you learn from your practice?
My materials are pretty straight-forward. I usually use gouache- whatever brand I can get my hands on at this point, although Winsor & Newton is a favorite. Once in a while I'll use a matte acrylic paint for broad areas of color. And as far as paper goes, I'll basically use anything thick enough to take the paint. I like gouache as a main art material because it allows for really fine detail and lots of different textures (at least I think it does). It's cool how by painting a subject, you are forced to study it and make new discoveries about it, often in ways you just can't just by looking at it. By trying to replicate a subject, you learn more about it. I love that.
What are some hobbies you enjoy doing? How do your personal interests find their way into your art making?
Ooh! I like going on walks and visiting parks and gardens, which definitely can serve as inspiration. I also really like knitting, especially when it's a garment I'll be wearing myself. I like feeling connected to the objects around me, and knitting is an awesome way to do that. It helps you look at the world in a different way, to slow down and take the long way 'round- instead of just buying a sweater, spending hours upon hours building it up from spun yarn. There are definitely parallels between that and my illustration practice. I also love coffee and that finds its way into my art via me spilling it onto my work all the time >.< HA!
Your work balances aspects of natural history, science and art. How did you find this balance?
Thanks! That's so nice! I just really love illustrating, and I think there's something to be said for science-y art that isn't super rigidly scientific, if that makes sense.
Last year, you did a series illustrating different taxonomic orders of animals in Kelzuki’s Animal Kingdom. What did you learn about yourself and your work during you time making it?
This project was the first time I really dedicated myself to animal/taxonomy art and it just proved to me that I really do love it and can lean into it! People have asked me if I'm bored of painting animals, and all I can say is NO because I love it so much.
You started a new series called Ocean Giants Month for the month of May. What can you tell us about the project?
Yes! I liked doing a daily series in 2016- that was Kelzuki's Animal Kingdom- so I'm restarting the daily practice with a project called Kelzuki's Natural World (#kelzukisnaturalworld whatup). I'm choosing a different natural history topic for each month, and I'll be creating daily posts about that topic and sharing them on social media. For May, I started off with a month of ocean giants- some of the biggest, heaviest, longest marine creatures on Earth. I'm going to be showing the culmination of this project at Light Grey (: And stay tuned for my next themed month, which I'll announce at the end of May. It should be fun!
What can people expect to see from your work during your exhibition at Light Grey?
I'll be showing my final "Ocean Giants" compilation along with some other illustrations of species from all around the world, including the deep sea, where humans have yet to fully explore, and other spots around the world, from Africa to Asia to North America and more.
Where can people find/follow your work?
I'm online at www.kelzuki.com, and I also post daily on Instagram at @kelzuki.
Thanks so much, Kelsey!
Light Grey Game Night: Animal House
Hey, let's not kid ourselves. I love animals, you love animals. I don't need to write a big intro setting this up; let's play some games about animals. If you find yourself in constant awe of animals and their ability to be cute, deadly, and surprising all at once, then it just might be time for another Light Grey Game Night! So mark your calendar for Thursday, June 1st from 6:30 - 9:30 pm.
As you might remember, we're attaching a theme to each night to help people narrow down what games they might want to bring (although you're still welcome to bring whatever you'd like!). This week's theme is Animal House!
Adapt to stay one step ahead of the pack in Evolution, stash that boar in the living room in the classic worker placement game Agricola, or put cash down on your favorite even-toed ungulate in the nail-biting race game Camel Up, among plenty of others! If you have a favorite board game, bring it!
So grab your friends, family or favorite stack of board games, and come play with us! RSVP via our Facebook event, and feel free to share! The more the merrier! See you Thursday!
Light Grey Game Night: Dive Deep
The dog days of summer approach and the temperature steadily rises. To a Northerner like me, I'll admit it's getting a wee bit uncomfortable. You can try to dress lighter, stay in the shade, take it easy... but to escape the heat, sometimes the only thing left to do is dive straight into a nice, cool body of water! If you feel like hanging out in the murky depths for a few hours, it might be time for another Light Grey Game Night! So mark your calendar for Thursday, May 18th from 6:30 - 9:30 pm.
As you might remember, we're attaching a theme to each night to help people narrow down what games they might want to bring (although you're still welcome to bring whatever you'd like!). This week's theme is Dive Deep!
Close the hatch and join your crew on a submarine to use cunning, communication, and pure gut instinct to sink the enemy in Captain Sonar, explore the ocean's depths to find the most diverse wonders in Oceanos, or brave the flooded depths of the dungeon for riches in Clank!: Sunken Treasures!, among plenty of others! If you have a favorite boardgame, bring it!
So grab your friends, family or favorite stack of board games, and come play with us! RSVP via our Facebook event, and feel free to share! The more the merrier! See you Thursday!
Camouflage & Wanderlust Opening Reception
Friday, May 26 -- 7 - 10 PM
Opening Reception For
Camouflage - Wanderlust
A Biographical Representation of Life in the Forest
The Endless Quest - Unimaginable Animals
Light Grey Art Lab will be launching a series of new exhibitions centered around the theme of wanderlust and the natural world, featuring a huge variety of work including illustrations about remaining unnoticed in Camouflage: Hiding In Plain Sight, new work from Light Grey Art Lab’s most recent Iceland Residency program in Wanderlust, photographs of the open road and outdoor survival in The Endless Quest and A Biographical Representation of Life in the Forest, respectively, and a series of paintings inspired by field guides with Unimaginable Animals. The opening reception is Friday, May 26th from 7 to 10 PM.
Camouflage: Hiding In Plain Sight
In the animal kingdom, moving unseen is a vital skill. Some creatures spend their entire existence in a constant struggle to remain undetected, whether to avoid predators, stalk prey, or live in harmless symbiosis. In our daily lives, the ability to camouflage ourselves may not always spell the difference between life and death, but it can be important to our social interactions and emotional well-being. Dealing with the desire to blend in, to assimilate, to fade away into the background is a universal feeling, and Light Grey Art Lab’s newest group exhibition, Camouflage, is all about hiding in plain sight.
Camouflage invites over eighty artists from around the world to explore what it means to be invisible. In the natural world, camouflage can present itself in stunning and ingenious ways and many of the Camouflage artists were eager to explore this evolutionary phenomenon. National Geographic photographer Matthew Cicanese’s macro images of a spider perfectly blending with its surroundings is a near optical illusion of pattern and detail, while those on the other end of the spectrum chose to explore a more human and emotional side of camouflage. Struggling with notions of personal identity and cultural norms, the idea of camouflage can provide an uneasy balance of safety and deception. “I have always been shy, and as a student, I was wracked by impostor syndrome.” notes participating artist Jenna Kass. “So I wrapped myself up in that feeling, let it rip me apart, and lied myself into confidence.”
Wanderlust: The Iceland Residency Exhibition
Artists are no stranger to wanderlust, as creative inspiration is often derived from the heightened senses while exploring unfamiliar territory. Iceland holds a particular draw due to its combination of breathtaking and often hostile landscapes, geological wonders, and quiet isolation. An artist’s unique reaction to new experiences, conversations, and exploration is at the heart of Light Grey Art Lab’s newest show, Wanderlust: The Iceland Residency Exhibition.
Wanderlust is the culmination of Light Grey Art Lab’s 2016 Iceland Residency, where over a month-long stay in Iceland, more than thirty artists traveled through Iceland to explore, learn, and create together. The residency provided an opportunity for unbridled creative and natural exploration, as well as an incubator for collaboration and idea sharing.
Work featured in Wanderlust celebrates the rugged and epic Icelandic landscape, the flora and fauna of the countryside, the quiet moments of reflection, and quite often the spirit of the other creatives who shared the journey. Bill Robinson's plein air paintings present a spontaneous and unedited view of the Icelandic landscape, while Betsy Bauer explores the characters and folklore behind the trolls and hidden folk of Iceland, and Alexandria Neonakis’ work feature a series of calming vignettes from the plants, textures, and various Icelandic mise en scène.
A Biographical Representation of Life in the Forest
Photography for Matt Moss came out of necessity, as a medium for recording what he was doing at that present moment. Moss is an outdoorsman and naturalist from the UK who, specializing in forests and their associated species, works as both a forester and nature guide. As a naturalist, Moss spends his time in the outdoors educating people in topics such as ecology, conservation, and environmental issues. As a forester, he is able to make decisions on how land can be managed in ways that enhance and benefit wildlife.
A Biographical Representation of Life in the Forest is a documentation of Moss’s daily life and an exploration of work, relationships, and intimate experiences that are connected through a want and desire to explore our natural heritage. Moss’s work questions humankind’s deeply rooted but often conflicted relationship with nature, as he believes to understand ourselves and who we truly are we need to remove the barrier that separates us from the natural world and embrace it.
The Endless Quest
An old soul with a modern sense of style, California-based Tanner Johnson established his passions at a very young age and ran with them. Aspiring to document "the other half" of the outdoors and an outdoor lifestyle, Johnson combines his passions for hunting, fishing, and mountaineering with a modern outdoor lifestyle through his documentary travel photography. Working with various outdoor industry leaders such as Civilware and Kika Worldwide, Johnson travels the world in an effort to broaden his scope of adventure and experience, document everything on the way, learn the land, and inspire others to never resist the urge of adventure.
The Endless Quest offers a glimpse into Johnson's journey, with a series of candid and contemplative photographs taken from around the globe. These vignettes highlight a world filled with wanderlust, lonesome roads, and hard-earned comforts.
Unimaginable Animals
When Kelsey Oseid was five years old, her grandpa gave her an encyclopedic volume on animals. Oseid spent her childhood pouring over it, obsessing over the huge variety of species and rigorously scientific illustrations. It’s a feeling Oseid works hard to recreate in her work, heavily influenced by the field guide school of naturalistic illustration. Oseid believes in the theory of botanical art; that you paint to understand. The act of observation and communication through a visual medium leads to a deeper level of comprehension, and this exploration lies at the center of her newest body of work, Unimaginable Animals.
Unimaginable Animals is a series of illustrations that illuminate some of the more unusual and incredible species on Earth. From the most unfathomably old to the most otherworldly resilient, Unimaginable Animals acts of a catalog of nature's endless sense of variety and ingenuity, and a celebration of the idea that truth in nature is often stranger than fiction.
Opening Reception
The opening reception for Camouflage, Wanderlust, A Biographical Representation of Life in the Forest, The Endless Quest, and Unimaginable Animals is Friday, May 26th from 7-10 PM. The work will remain on display through July 14th. The opening reception is free and open to the public.
Light Grey Game Night: Shady Business
Summer's finally here, and you know what that means? That's right, all your favorite summer activities; lazy backyard BBQ's, smooth summer jams, staying out late riding bikes all night, selling illegal drugs in the park, and some good-natured petty theft! Wait, that's NOT how you normally spend your summer? Uh, yeah, me neither. I normally... play a sport. But if the nice weather's got you in the mood for some good old-fashion mischief and chicanery, by golly it must be time for another Light Grey Game Night! So mark your calendar forThursday, May 11th from 6:30 - 9:30 pm.
As you might remember, we're attaching a theme to each night to help people narrow down what games they might want to bring (although you're still welcome to bring whatever you'd like!). This week's theme is Shady Business!
Pull off the perfect caper in the cooperative heist game Burgle Bros, sneak epic loot out of the dungeon without making too much noise in Clank!, or use teamwork and communication to solve a grisly murder, but beware the murderer might be in your midst, in Deception: Murder in Hong Kong, among plenty of others! If you have a favorite boardgame, bring it!
So grab your friends, family or favorite stack of board games, and come play with us! RSVP via our Facebook event, and feel free to share! The more the merrier! See you Thursday!
Camouflage Artists Announced!
CAMOUFLAGE
Hiding in Plain Sight
a group exhibition about blending in
••••••••••••••••
Opens May 26th 7-10pm
Light Grey Art Lab
118 E. 26th Street #101
Minneapolis Minnesota 55406
612.239.2047
Thank you everyone who applied to the upcoming exhibition Camouflage. We are excited to announce over eighty artists that will be joining us in the project and exploring imagery surrounding hiding in plain sight.
Come see the show on May 26th, along with Wanderlust, an exhibition by the 2016 Iceland Residency artists, photography by Matt Moss and Tanner Johnson, travelogues by Carrie Liao, and original works by Kelsey Oseid.
Camouflage artists include: Adam Pritchett, Alex Conkins, Alison Polston, Amanda Chung, Amelia Langford, Angela An, Angela Rizza, AnneMarie Rogers, Ashley Floreal, Aster Hung, Asya Mitskevich, Beth Hughes, Brian Uhl, Briar De Wolfe, Caitlin Ono, Cat Yoo, Chan Chau, Chelsea Harper, Christina Chung, Christopher Hegland, Corrie Young, Dana Kang, Delia Evin, Eduardo Vieira, Erica Leveque, Finn Matthews, Frances Alvarez, Galileo Disperati, Gica Tam, Greta Jaeger, Heather Franzen, Jake Giddens, Jenna Kass, Jess E. Dycus, Jessica Roux, Joana Neves, Julia King, Kamille Areopagita, Karina Rehrbehn, Kat Lyons, Kathleen Marcotte, Kelsey King, Kendall Quack, Kim Sokol, Kring Demetrio, Kyle Cahill, La Scarlatte, Lauren K Cannon, Lily Van, Lis Xu, Maddy Haynes, Marcela Suller, Matt Hayton, Matthew Cicanese, Meera Lee Patel, Megan Kelchner, Ming Hai, Molly Stanard, Monica Amneus, Natalia Mieses, Nathan Durfee, Patricia Thomasson, Renée Park, Ricardo Ales, S A Lieske, Saleha Chowdhury, Sam Calimlim, Sarah Clement, Scott Southall, Sean Price, Sheena Klimoski, Shelby Hacker, Shelby Hersleff, Sher Rill Ng, Shreya Gupta, Stephne Boutcher, Taylor Fourt, Taylor Rose, Tidawan Thaipinnarong, Tricia Beal, Vanessa Gillings, Vero Navarro, Xiao Qing Chen, and Z Akhmetova
Opening Reception The New North and Janelle Gramling
Light Grey Art Lab will be featuring two new exhibitions in May; The New North: Contemporary Art from the Upper Midwest curated by Mary Jo Hoffman, and Janelle Gramling: Collected Works, as part of a local artisan showcase. The opening reception for both is Friday, May 5th from 7 to 10 PM.
The New North: Contemporary Art from the Upper Midwest
There’s an austere but inviting sense of minimalism that thrives in Minnesota. Maybe it’s the Scandinavian influence or the landscape of white blankets on chilly winter nights, but an understated and graceful aesthetic tends to show up in the art, crafts, and products produced by local creatives. The New North: Contemporary Art from the Upper Midwest is an exhibit of art and craft created by creators from the region. The New North is curated by Mary Jo Hoffman and features a dozen artists across multiple disciplines including screenprinting, photography, ceramic, woodworking, and painting.
Mary Jo Hoffman has been a lifelong creative dabbler. Growing up as a tomboy in Shoreview, MN, Hoffman developed a deep love for nature, creating, and learning. After earning a graduate degree in Aeronautics and Astronautics from Stanford University, Hoffman moved on to an accomplished career in aerospace science. But her love for creating thrived, and she increasingly threw herself into art and design, eventually finding her new calling. Hoffman is the creator of STILL, a minimalist photo journal where she creates photographs that compose natural elements and findings from nature. Launched in 2012, the beautiful work featured on STILL caught national attention, and the work found within has been the center of several international home decor collections released by retailers such as Target and West Elm. Mary Jo Hoffman is a meticulous curator and has a knack for finding the beautiful, understated, and modern in nature.
The creatives featured in The New North: Contemporary Art from the Upper Midwest share the modern sense of craft and aesthetics that Hoffman brings to her work. Michelle and Erik Vevang, the duo behind VevangMPLS, bring the use of traditional Scandinavian carving methods to wooden tableware pieces and decor assemblages, while Kristin McCullough creates a chilly but peaceful aesthetic through her textural, abstract encaustic paintings. The New North offers a glimpse into this growing slice of this local contemporary art and craft scene.
Janelle Gramling: Collected Works
Inspired by raw natural materials and traditional techniques, Janelle Gramling’s work touches on themes of personal symbolism and sacred geometry with a modern, minimal, and playful aesthetic. Combining fiber, found object, and ceramics Gramling applies a handmade approach to give her sculptures, home decor, and wearable adornments an air of down-to-earth spirituality.
Janelle Gramling: Collected Works features a collection of new sculptural wall-hangings, functional ceramics, and wearable decoration. Taking inspiration from patterns and nature and studying Sacred Geometry, Gramling creates forms that are mathematical and perfect in concept, but become flawed, natural, and human when brought to life in real materials. Shapes are slightly imperfect. Surfaces bear blemishes and fingerprints. To drive this home, Gramling chooses materials that feel familiar and close to their natural origin; stoneware clay, found driftwood, and natural fibers colored with plant-based dyes. Themes of ecology, balance, and interconnectedness speak through the ways in which strands of fiber weave their way through geometric forms in clay and wrap around branches of found driftwood.
Opening Reception
The opening reception for The New North: Contemporary Art from the Upper Midwest and Janelle Gramling: Collected Works is Friday, May 5th from 7-10 PM. Both will remain on display through June 20th. The opening reception is free and open to the public.
The New North: Contemporary Art from the Upper Midwest participating artists: Michele Vevang, Erik Vevang, Kristin McCullough, Marty Harris, Araya, Steve Thomas, Mary Jo Hoffman, Allegra Lockstadt, Neal Perbix, Talin Spring, Thea Spring, Scott Brown, Martha McQuade, Dan Clark, and Jim Nelson
Light Grey Game Night: Hard Day's Work
After a month of gallivanting around the beautiful and vibrant country of Japan for five straight weeks, we're finally home! ...And faced with a pile of neglected responsibilities the size of Mount Fuji. But that's cool, no sweat! After that much R&R, we're charged up and ready to put our collective nose to the grindstone. If you're feeling bright-eyed and bushy-tailed, ready to put in a solid day of work, it must be time for another Light Grey Game Night! So mark your calendar for Thursday, April 27th from 6:30 - 9:30 pm.
As you might remember, we're attaching a theme to each night to help people narrow down what games they might want to bring (although you're still welcome to bring whatever you'd like!). This week's theme is Hard Day's Work!
Rise when the rooster crows in Fields of Green, set up the most efficient assembly line in Factory Fun, or hire the best of the best to rule the lands in the Japanese-import Demon Worker, among plenty of others! If you have a favorite boardgame, bring it!
So grab your friends, family or favorite stack of board games, and come play with us! RSVP via our Facebook event, and feel free to share! The more the merrier! See you Thursday!
Artist Interview with Arielle Jovellanos
Meet Arielle, a NYC-based artist who double majored in Illustration and Fiction Writing at Parsons School of Design in New York City, New York. She is currently a freelance illustrator and comic artist who kickstarted Ladies of Literature, and organized the #Ham4Pamphlet zine for the cast and crew of Hamilton.
Arielle’s work is characterized by a love of storytelling and character. Her illustrations are packed with characters interacting in complex and emotional ways, weaving stories for the viewer to enjoy. Her work often features bright colors, especially pinks and reds, and tons and tons of little details. We’ve had such a great time working with her in our current exhibition, tobeyou, and in our upcoming exhibition, Color Anthropology. Read more to learn about her passions, practice, work, and more. For more of her work, visit her website, or her other links below the interview!
Enjoy!
Can you tell me more about yourself?
I was born and raised on Long Island, close enough to the city to watch Broadway musicals very regularly -- I have a quite a large Playbill collection. :) I got into illustration because I'm really passionate about the power of storytelling, and how tiny details can help create specific narratives. I'm very fascinated with how this specificity can then, in turn, create empathy.
What does your studio/workspace look like? Is the space a beacon of dedicated focus or disjointed stress? What’s your dream workspace?
My workspace comprises my laptop and Wacom Cintiq, a lot of books for reference and inspiration, and an Apple TV for streaming good background noise -- mostly podcasts, video compilations of 90s boy bands, and probably Yuri on Ice for the hundredth time. To keep focus, I tell myself I'm not allowed to sit in my desk chair unless I'm about to start working. Any other chair in the room is fair game for shenanigans to ensue, but the work chair means serious business.
My dream workspace would definitely comprise of more art colleagues all working together in concentrated silence. Illustration gets pretty lonely!
What is your creative process like? Is it made of simple linear steps or do you just wing it? What kind of research goes into your process?
I have a couple recent process posts here and here. It's pretty straight forward. Thumbnail, tighter undersketch, lineart, color, and adjustments, like clockwork. I do a lot of image research through books I have, photos I take, Google Image, and my new personal favorite: The New York Public Library Digital Image Collection -- such an amazing resource for obscure images!
What are some things in your art that you feel are so uniquely you? What influences you to make and create?
This is always such a hard question to answer, since I feel uniqueness is relative to the viewer's scope of reference. I will say that I do go out of my way to add as many subtle touches and fun details to my work as possible, whether it's in the fashion choices, the quirks of body language, or the choice in furniture or decorative knick knacks in an interior space. I always joke and say it's because I spent a lot of time in the background ensembles of high school musicals; I actually think this made me very conscious of the tiny minutiae that goes into creating a believable world. I always wanted to put my all on stage and commit to my ensemble character even when I wasn't the focus of a scene. I think part of me always wants to give the tiny background details a chance to shine too. A reminder that every part of a drawing is living or has been touched by a living thing.
Can you tell us more about your piece for ToBeYou? What’s the long version of the story?
I had a particularly difficult year recently, and a lot of that difficulty came as a result of my propensity towards very anxious thoughts. It made me think of the Nine of Swords, a tarot card about fear, but the specific kind of fear that is psychological and internalized. When reversed, the card suggests a turning of the tide. The same mind that creates powerful dark thoughts can create powerfully optimistic and empowering thoughts too.
Were there any significant moments you had while working on the piece?
Initially, it was a little intimidating for me to interpret iconic imagery like tarot. As I was sketching it out in my notebook I found that it came together rather easily once I decided to abandon the familiar bed imagery of the original Rider-Waite tarot illustrations. Something that I love in the original Nine of Swords is the ladder symbolism; it's the idea that, while the swords can still hurt you, you can acknowledge that pain and that feeling, and still use it to climb back out of the dark. These are themes I tried to put into my version.
What are some hobbies you enjoy doing? Anything you’d love to have more time to do?
I love collecting succulents! I recently re-appropriated an old fish tank into a terrarium and I'm excited to buy more succulents for it. They come in such a colorful range of shapes and sizes and I find them incredibly calming!
Aside from that, I do try to consume as many different pieces of storytelling as possible to keep me energized and inspired. Right now, I'm very into Crazy Ex-Girlfriend. Speaking of specificity in storytelling, it meant the world to me to see a Filipino family party depicted on that show so earnestly and truthfully. That's the sort of thing I live for and that I'd love to have in my own work.
Do you have any projects you’d like to talk about?
I'm planning a few personal projects, but nothing I can discuss in detail just yet.
What sorts of communities are you apart of? Does your social life influence your work?
My social life influences my work in the sense that I think it's important to have a social life in the first place. I think there's often a lot of talk about the solitary artist who's locked in their room doing work all day, but for me it's 500% necessary to have a life outside of work because that's where you learn to appreciate the nuances of life that you can then reflect back into your art. I find the balance of rich experience goes back into rich and inspired art.
In what ways would you like your work to give back?
Something I'm trying to develop into my work is the feeling that the viewer has looked into a slice of someone else's life, with the idea that beyond this one snapshot, the world in the illustration goes on.
Where can people find your work?
Thanks a ton for your time, Arielle!
Artist Interview with Anoosha Syed
Meet Anoosha, a Toronto-based illustrator from Pakistan who received her bachelors in Illustration at Ceruleum Ecole d’Arts Visuel in Lausanne, Switzerland. She is currently a freelance illustrator and character designer.
Anoosha’s work is characterized by vividly colorful and painterly art bursting with life and character. Her work often features bright, wide-eyed characters, and appealing design that is dripping with charm. We’ve had the wonderful opportunity to work with her in our current exhibition tobeyou, and in our upcoming exhibition, Color Anthropology. Read more to peek into her background, practice, inspiration and more. For more of her work, check out her website, or her other links below the interview!
Enjoy !
Can you tell me more about yourself?
I was born in Pakistan, moved around a lot throughout my child and eventually ended up in Canada. I did my bachelors in Illustration at Ceruelum Ecole d'arts Visuels in Lausanne Switzerland, though I also did a semester at a university in Dubai before I realized that art was my calling. I worked as designer on Dot, a preschool show based on the book by Randi Zuckerberg. At the time of this interview, I have illustrated eight books, and am currently working on ten more!
What does your studio/workspace look like? Is the space a beacon of dedicated focus or disjointed stress? What’s your dream workspace?
This is my current setup! Although I dressed up my table quite a bit for the photo. Normally it's nowhere near as neat as this; I will normally have 10 dirty dishes and a horde of papers scattered there too. My dream space would be somewhere big and open, with tons of plants. And maybe a coffee machine near by?
What is your creative process like? Is it made of simple linear steps or do you just wing it? What kind of research goes into your process?
I most definitely wing it. I don't have the patience to do ten stages of roughs and thumbnails and color tests; I just dive in and hope for the best. Maybe not the best advice, but it's worked for me! In terms of research, I'll definitely start off by collecting as much reference as possible; whether it be locations of fashion or sifting through pages of my picture book collection for inspiration to strike. Pinterest is really helpful for that; keeping all that information organized; I usually make a board for every project I do that I can look back on whenever I find myself in a rut.
What are some things in your art that you feel are so uniquely you?
I'm a digital painter but as I'm very much inspired by art from the mid-century I strive to have a very painterly look to my work. Since a lot of work I do is for kids, my characters tend to have child-like faces with those big eye and long eyelashes. Also, I think that having a european art education would definitely have had an influence on my style.
Can you tell us more about your piece for ToBeYou? Your piece talks about duality, specifically a blending of East and West. What parts of your personal life play off these or other dual natures that you think are unique or interesting?
So like I said, I was born in Pakistan but I only ever lived there for four years of my life; for the most part I moved from country to country because of my dad's job (so far I've lived in Saudi Arabia, Pakistan, Dubai, Switzerland, Texas and Canada). I’ve switched from living in the east and west, having to adapt to a new environment and culture every time like a chameleon. So that's definitely created a sort of divide in me. What do I identify as? What should I say when people ask where I'm from (the hardest question I have to face)? I strayed too far from my desi heritage for me to sincerely call myself Pakistani, as I can barely speak the language or can tell you about the country's history. But yet, I don't entirely fit in with the Western world; I'm still seen as the 'other', the foreigner. Some people still find it surprising that I can speak English so well, when it's actually the only thing I can speak fluently. It's an issue many immigrants/3rd culture kids face, this lack of identity. So this piece is trying to convey that. Duality: How can I balance all the elements inside me?
You have this South Asian girl. She's wearing western clothes but also a shawl; wearing the nose ring and also blasting punk rock on her phone. She's staring unflinchingly at the viewer; she knows who she is, she doesn't care what you think of her.
Were there any significant moments you had while working on the piece?
I did have a hard time with the color scheme; I admit that I've never done colors as neon as this haha. My palettes are usually pastel and soft, but as I was doing my color tests I tried out something different and found myself drawn to it. That bright pink really forces you to look straight into her unapologetic eyes, so you just can't look away. I'm really glad I branched out from my usual style for this one. At one point I also considered writing the word duality in white above her, in the blank pink area. To kind of comment on the idea of islamophobia and how close minded people tend to look at Arabic letters and fear them for no reason? In the end I decided against it. It just took away focus from the girl.
What are some hobbies you enjoy doing? Anything you’d love to have more time to do?
I'm a big musical theatre nerd; Heathers the Musical is one of my favourites. I also have a beautiful cat who I'm trying to teach how to walk with a leash (it's not going very well). I would love to travel more. Living in Europe, everything was so close together you could drive 2 hours and end up in France. I'm in Toronto now, and If I drive for four hours, I'm in the same province! I like tabling at comic/illustration conventions so that definitely gives me an excuse to travel more.
Do you have any projects you’d like to talk about?
I have a new YA book coming out in May: “Bug Girl” from Macmillan Press. Really cute; about a tween nerdy girl who discovers she has superpowers. I have another picture book called “How I Did It” that came out April 4th. I also had the chance to work with some dream studios on some projects but I alas can't talk about them yet!
In what ways would you like your work to give back?
When I illustrate for books or for myself, I try to be as inclusive as I can. People come in all shapes and sizes and ethnicities and it's important that our media reflects that. Growing up as a South Asian girl, I never saw any representation of myself in books or TV or film, and it really makes you question your self worth. When I create, I hope someone sees themselves in it and remember they deserve to represented. In that same vein, I also would love to inspire more Middle Eastern/South Asian kids to go into the arts. We're kind of a rarity in the industry, unfortunately (mostly because our parents want us to be doctors and lawyers) so I hope at some point we can see some more diversity in the arts.
Where can people find your work?
Thank you for sharing, Anoosha!
Color Anthropology & Explorer Opening Reception + Artist Talk
Opening Reception - Friday, April 21 - 7-10 PM
Color Anthropology &
Explorer: Plein Air Paintings by Bill Robinson
Artist Talk - Friday, April 21 - 7-8 PM
Megan Nicole Dong & Stu Livingston
Light Grey Art Lab will be launching two new exhibitions in April; the group exhibition Color Anthropology and a solo exhibition entitled Explorer: Plein Air Paintings by Bill Robinson. The opening reception for both is Friday, April 21st from 7 to 10 PM and will feature an artist talk by visiting Nickelodeon Studios animation directors and storyboard artists Stu Livingston and Megan Nicole Dong.
Color Anthropology
Color is hardwired into the human experience. From the very beginning, color informed our daily lives. “Our most basic associations started with our instinctive need to survive,” writes Darius A Monsef IV in his book Color Inspirations. “We searched for blue water to quench our thirst, created red fire for warmth and sought green plants from food.” Over time our relationship with color evolved to convey emotion, class, and spirituality. Each hue has a deep history of meaning and connotations, and these stories are the subject of Light Grey Art Lab’s newest exhibition, Color Anthropology.
Sixty participating artists in Color Anthropology were tasked with creating work based on the cultural impact of a specific hue of their choosing. These artists were free to research and explore the cultural significance of this color across thousands of years. Work revolves around the symbolism, trade history, and spiritual importance of colors such as Lapis Lazuli, Blaze Orange, and Celadon, as well more recent colors, such as Barbie® Pink’s place in pop culture and modern society.
“Yellow has been the symbol of pro-democracy protests in both Hong Kong and Malaysia in the past ten years,” says Malaysian artist Charis Locke. “It's also a significant colour in different Asian cultures, standing for joy and wisdom, and is often the colour of royalty. I made a series of yellow flower posters in solidarity with recent events, and wish to continue exploring its role in protests and civil society.”
Other artists focused on color symbolism in fiction, such as Robin Hood’s iconic Lincoln Green garb, or the process and science behind a color, such as Oaxacan Purple, which is produced from crushed sea snail shells, and turn from yellow to their final purple hue due to chemical reactions when exposed to sunlight. Each work will be accompanied by a written statement by the artist, explaining the significance of that color, and why it’s important to acknowledge how it’s shaped our vision of the world.
Explorer: Plein Air Paintings by Bill Robinson
Bill Robinson has an accomplished career of illustrating children's books and creating concept art for companies like Sony Pictures Animation, ReelFX, Nickelodeon, HBO, and Disney Interactive. He divulges that his true love is leaving the studio behind and painting outdoors–plein air painting.
“As a concept artist for the animation industry by day, I tend to be stuck inside at a computer,” says Robison. “When I started to paint outdoors I was faced with the usual challenges of weather and lighting and what type of gear to use - but all of this was easily outweighed by the fresh air, sunlight, and sounds of nature around me.”
An exhibition about finding daily glimpses of adventure beauty, Explorer is an entirely new body of work featuring twenty-five original plein air paintings from the past year. The paintings are a journal of Robinson’s home town and travels featuring natural settings of rocky coastlines, dense woods, and babbling brooks, as well as urban paintings of cozy architecture and Los Angeles street scenes.
“Los Angeles is known more for its freeways than its natural beauty, so I was surprised at how much incredible scenery there is to paint all around me,” says Robinson. “It may be something as grand as a mountainside, or as simple as a tree at the end of my street. I find that both are worth looking at closer.”
The opening reception for Color Anthropology and Explorer: Plein Air Paintings by Bill Robison is Friday, April 21st from 7-10 PM. Both will remain on display through Saturday, May 20th. The opening reception is free and open to the public, and features an artist talk by Nickelodeon Studios animation directors and storyboard artists Stu Livingston and Megan Nicole Dong. The artist talk will run from 7-8 PM.
Artist Interview with Qing Chen
Meet Qing (pronounced “Ching”), a California-based illustrator from Malaysia who has studied Architecture, Graphic Design, and Illustration. This year, she was a recipient of a Silver Award from The Society of Illustrators West 55.
Qing’s work has a masterful use of space, architecture, and detail. Her work is breathtakingly intricate, with spaces so carefully considered you feel like you could step right into them. We’ve had the wonderful opportunity to work with her in our current exhibition tobeyou, and in our upcoming fall exhibition, The Lost Isle of Kismet. Read further to learn more about her background, schooling, process and more. For more of her work, check out her website, or her other links below the interview!
Enjoy !
Can you tell me more about yourself?
I grew up in Malaysia and lived there for 23 years, in a little town call Kuching, at the south western tip of Borneo Island. Growing up, I have always wanted to be a doctor. I have always love to draw as a child, but never considered myself being in the creative field. Upon graduating high school, I went to architecture school for two years. I did not finish it, and instead enrolled in an Advertising and Graphic Design program at The One Academy of Communication Design in Malaysia. Wanting to polish some illustration skills, I pursued Illustration at Art Center College of Design in Pasadena, California. I am currently an imagineer at Walt Disney Imagineering, freelancing graphic design and illustration, while teaching part time at my alma mater Art Center College of Design.
What does your studio/workspace look like? Is the space a beacon of dedicated focus or disjointed stress? What’s your dream workspace?
My current studio is a shared space with my bed in a room roughly the size of 10 feet by 8 feet. I have a small library of books in the same space. Ideally, I would love to have separated work and living space, but unfortunately that is not an option for now, at least not financially. I still have a decent space for both digital and traditional art, just without a lot of sunlight, which I crave a lot. I like my space now, it is a beacon of dedicated focus, and I’m actually still working on improving it so it has better storage space.
Ideally, my dream studio would be one that has large north-facing windows, with an abundance of natural sunlight and good ventilation. I would love a divided traditional media and digital media workspace, with a little sheltered outdoor patio also for my traditional media workspace. I love collaborative work more than solo work, which leads to me wanting more workspace for people when they come over. There will be spots of greeneries around my studio. A library collection of books is a must, with an organized tools and materials place as well. I snack a lot when I work (I am snacking while writing this), so a pantry would be nice. I have always wanted a Golden Retriever too, so ideally he/she can have some comfortable spots in my workspace. Oh lastly, there should be a small seating area with a white wall for movie projections when I have guests over. Oh my, this sounds greedy, but I do hope to have this realize some day.
What is your creative process like? Is it made of simple linear steps or do you just wing it? What kind of research goes into your process?
My creative process almost always starts with a story/a problem/a brief/a need. There is always some challenges to be solved. I always start with research. It could be about understanding the audience I am designing for, sometimes it is a stylistic guide that suits the story. I like it best when I get to observe the people that I am designing for.
Although, you’re right, I sometimes just wing it. This happens more with my individual illustration work. I have to admit, they rarely came out anywhere near nice. I either have to redo it, or re-wing (if that is a word) it until I feel at ease with it. I think it comes down to giving myself a solid idea and confidence when I work on a piece of art. I think whenever I decided to just wing things, most of the time I wasn’t convinced of a certain story, hence the play-by-ear approach. Sometimes it works, but rarely.
Ultimately it still comes down to what emotional and practical needs do my audience need. This applies to both designing experiences and creating illustrations. I don’t think I’m anywhere near it yet, but I would love for my designs in the future to be emotionally engaging, that will be top priority, and then, if applicable, practical for its purposes.
What are some things in your art that you feel are so uniquely you?
Coming from a relatively quiet and conservative Chinese culture (don’t get me wrong, I still think it’s one of the richest and most beautiful culture) that lives among a huge melting pot of races in an islamic country, I think I grew up pretty adaptable to changes and differences. When it comes to art and design, adaptability comes to play when working with different projects and different teams, not just stylistically, but also being versatile with team dynamics.
Malaysians taught me a lot about empathy. Differences in skin color, religion, mother tongue, do not divide, but it should instead be a strength. To be able to build upon each other’s strengths and learn to grow alongside each other requires a lot of empathy from one another. Fear and stereotyping comes along when we don’t understand each other enough. This is a culture that taught me the importance of listening.
The American culture, in return, taught me a lot about speaking up. No offense, but I think the American culture is a loud culture, in good ways. I have never seen a culture so outspoken and diligent about rights, every kind of right. Not just speaking up for groups that each individual person identifies with, but most Americans have huge hearts in standing up for other people in this country as well. Recent events, in standing up for people of color, people of a different sexual orientation than their own, people of other religions that are misunderstood, immigrants from foreign lands, land rights that are forcefully taken away, environmental causes, etc. The values of speaking up isn’t just to be loud, but is incredibly useful in standing strong in face of certain circumstances.
I am far from good at being versatile, but I hope one day I will have the ability to apply better storytelling and creative abilities across all different fields with better design sensitivities across different cultures to help solve big and small problems. Especially when technology advances so quickly, the mediums for storytelling in all different fields changes drastically. Technology may go obsolete, but storytelling and creative problem solving will always be in demand.
Can you tell us more about your piece for ToBeYou? What’s the long version of the story?
The title of my piece for ToBeYou is “Disruptions”.
I grew up a very obedient child. I thought, for the first 17 years of my life, that’s the perfect child, perfect person in fact, to be in life. My parents love me, don’t get me wrong. It’s just that I was used to following the norm, blending in and fitting in stereotypes of a poster child. I scored all As for my national higher education exam in high school, but not good enough to gain a medical scholarship from the government. I was lucky to be able to get into one of the top architecture program in one of our Public University (University of Technology Malaysia). It was definitely eye opening and inspiring. It is still, to this date, one of the more demanding programs I have been through, but it trained me physically and mentally to stay creative and solve problems even under the most stressful environments. Two years into the program, I realized I did not want to continue architecture for the rest of my life, at least not counting structures and beams and columns. I was much more interested in designing for cultural and communication purposes.
The disruptions started here. I told my parents I wanted to quit architecture. It was disastrous to my family and friends. I have almost never said no to big life planning decisions like that to my parents. It also wasn't what the community was typically used to. Everyone thought I lost my mind. Everyone thought I had ‘gone bad’. Who would give up the chance of being in a nationally prestigious architecture program? I did.
Luckily enough, with more communications with my parents, they agreed to trust me with my decision, despite the endless worries they had. From here on, I embarked on a less travelled journey, at least in the eyes of those in my hometown, with a very supportive immediate family.
This path led me to an Advertising and Graphics program, where I started learning a lot about graphics design and conceptual marketing pitch. Thinking that I need to polish my visual communications, I pursued Illustration at Art Center College of Design. All these while under more doubts from people, that I was merely learning to draw pretty pictures in school with an extremely high tuition. I tried my best in school, along many inspiring mentors and instructors, of course amazingly talented peers that keep raising the bars and encouraging each other up the career ladder.
I guess luck was on my side, that I got an internship with Walt Disney Imagineering one fateful Summer. Funny when you think about it, that I dropped out of Architecture and came full circle to that dream place where Imagineers build experiences in physical spaces to make people happy. Now that I graduated I am grateful to be able to continue contracting in Walt Disney Imagineering as a creative designer. I know this is just the start of a creative endeavor. I have no idea what is down the road, but I am excited for it.
It was then that I realize all these “disruptions” along the way for the past 10 years were blooming with possibilities. A leap of faith, both from my family and trusting my own guts, led me to a dream job where my design heroes were and are working. I am standing on the shoulders of giants. These giants, at some point of their lives, must have been following a path that were disruptions in their lives too.
Were there any significant moments you had while working on the piece?
It was a good time to actually look back and allow myself to be nostalgic and reflect on what I have been through so far. It wasn’t a lot, and I have been extremely lucky multiple times, but life definitely took turns that I would never have expected. Some things were tough, but I would not have it any other way either. Spending the time finishing this piece felt like I had waves after waves of appreciation washing over me while remembering people that have supported me along my endeavor so far.
What are some hobbies you enjoy doing? You mentioned urban sketching in your email, and how you like sketching places you travel to. How does urban sketching impact your larger body of work? What do you like about traveling?
I love urban sketching. It was a pastime I picked up while studying architecture. It started as a required assignment as part of the research process when we do site visits. I soon realized it was really meditative as I sat/stood at a spot trying to study the subject matter. I soon grew to love that I can people watch the crowds navigating the same space I’m in, and study the needs of people interacting within the space.
Urban sketching plays a huge role in traveling, more so if I am traveling solo or with other sketchers. The sketches have become the only (or one of very few) souvenirs I bring back with me, and that makes every single sketching spot so much more memorable. Sometimes it is a conversation I had while sketching a certain spot, sometimes of the interactions between people I saw, sometimes a song I heard, sometimes just the smell of that place. I believe a lot of us never stop long enough to appreciate the places we have been to, but instead just check off places we have physically been in. The convenience of the ability to take millions of pictures on our phones definitely does not help. How many of us actually went through all the pictures again?
I have never thought about a career in themed entertainment design until I went to Art Center. Urban sketching definitely fed into fueling design sensibilities and ideas while working on my theme park design job. The observations of people and architectural details made while urban sketching is almost directly translatable. The improvement in sketching and painting skills over a longer period of time is inevitable too.
What is some insight you have about art students who are seeking work after school?
There are a few things I wish I knew fresh out of school.
Change is normal, adaptability is important. I happen to work in themed entertainment, which is notorious for constant changes at a moment’s notice. For example, there was a case where a project that had been redone over and over again over a few years...got shelved, for seven years (!) before it was decided that it should be put back on motion again. Change is the only constant, which may not be a bad thing always. When it happens, we can either be sulky about it or work with it. I believe the latter option is more progressive.
Rejection is probably another theme I have learned to be at peace with. It is never a pleasant experience having to deal with rejections, be it at work or in life in general, but there is always a takeaway in these experiences, on why it happened, so we make fewer mistakes in future similar circumstances.
People appreciate efficient communication. Not only is it a polite gesture, efficient communication makes work so much more pleasant.
Paying it forward. I believe strongly that we are all standing on the shoulders of giants, regardless of the field that we are in. I owe where I am today to a lot of great mentors, supervisors and peers that have lifted me up along this creative endeavor. As much as I would love to repay them these huge favors, repaying all these is in reality is almost impossible, but I definitely have the ability to pay it forward to those around me when I have better abilities to do so.
Do you have any projects you’d like to talk about? You recently won an award from the Society of Illustrators West 55. Can you tell me about that?
The latest project showed on my website is a series of designs done based on Harry Potter, a series of stories beautifully crafted by J.K. Rowling. It was a take on designing the four common rooms of Hogwarts School of Witchcraft and Wizardry. I imagined the days if I were the designer/architect for these rooms that are like second homes for Hogwarts students, and how each founder would cater to the needs and strengths of the four houses. I added some of my own interpretation of the houses too based on their traits as explained in the books.
The piece that got selected in Society of Illustrators’ West 55 is titled “Welcome”. It is an architecturally heavy piece that at first glance shows grandeur of a palace, and at second read shows the tense dynamics that will unfold between a duchess in stepmother role, with a long lost princess happily welcomed back to the palace by the duke himself. It was intended as a standalone piece. I am extremely flattered to be chosen for a Silver award, and getting the chance to be exhibited with many more acclaimed illustrators and designers.
What can you share with us about your experiences with Walt Disney Imagineering?
Somehow the stars aligned for me and I got an internship with Walt Disney Imagineering as a creative designer during the Summer of 2015. Walt Disney Imagineering is in charge of designing experiences for all Disney parks and resorts around the world. It was a short but extremely fulfilling three months. I got to work and learn from veterans in themed experiences design. It isn’t one of those get-coffee-and-xerox kind of internships, and I am definitely glad that they put interns to work. Now I am back in Imagineering as a Creative Design Contractor for one of the team I worked with during my internship. The scope of the project and amount of things to learn is overwhelming, but it is truly a job I enjoy. Not all parts of the job I get to do are fancy, but they’re still all fun jobs. I am sorry I can’t talk about the details of this, but being part of the team that creates “The Happiest Place on Earth” is very flattering and humbling at the same time. There is never a day I am not inspired and amazed with the things this team of people are building. Working with my design heroes is very intimidating, but nonetheless, a huge learning experience.
A heart warming moment I had was that I got to bring my mum for her first Disneyland experience a few months back. It was just the two of us, a much needed mother-daughter date. I brought her own a few rides I thought she would like, and of course walked both Disneyland and Disney California Adventure with her. I have never seen her happy in that way in my whole life. It was a very genuine, childlike happiness. Many imagineers that I work with grew up with the parks as a kid, and always talked about how their first park experience was with their parents. I got to do it the other way around, and that made me believe in my work.
Sure, Disney can be a name that is very much associated to commercialization. I can’t speak for other companies within the corporation, but Imagineering itself has created so much memories among people across the world. Many of us who grew up watching classic Disney films get to have an extension of the stories by going to the parks. I never grew up with the park myself, but I know that a lot of my friends did. Mind you, I visited Disneyland only once before I got my internship, and it wasn’t even a pleasant day. (I have since visited many times, sometimes for studies, sometimes for fun) I can’t deny the influence Disney had on people, and in believing that I may be able to be contribute to a tiny part of this influence is flattering. The level of attention behind the scenes to bringing human-centered-design in these parks to the public is admirable. Of course, the work isn’t always magical, and it’s not all pixie-dust-like, and which company exist without politics? Despite all these, knowing that all these effort is going towards building more memorable experiences across the world, it makes all the hard work worth it.
In what ways would you like your work to give back?
I believe in human-centered design, be it creating meaningful and memorable experiences, or emotionally engaging and relatable illustrations. I will be thrilled if some day I get to work on a project that elevates the spirit of a community. No scale of human-centered design is too small, likewise, nothing is too big when it comes to working for a greater cause. Even creating an illustration that makes someone’s day brighter counts. We never know what ripple effect this may have.
Where can people find/follow your work?
You may find me on my website and Instagram. I am much more active on Instagram. Come say hi!
Thanks so much for your time, Qing!