PODCAST: The Meaning of Life? w/ Bene Rohlmann & Christina Mrozik

We recently got together with artists Bene Rohlmann and Christina Mrozik to celebrate their solo exhibitions at Light Grey Art Lab. Their shows are up through December 7th, so if you haven’t had a chance to come see them in person, swing on by!

Both artists traveled to good-ole’ Minneapolis to share their insights on what it means to commit to one’s life, as well as their artistic practice. Thank you to everyone that was able to see their live artist talks— and for everyone that missed the opening reception, we have an exclusive interview with Bene and Christina over on the podcast page.

Click HERE to listen to the newest LGAL Podcast, Download the MP3, stream directly on Stitcher, or subscribe via iTunes!

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The Meaning of Life? W/ Bene Rohlmann and Christina Mrozik
Length: 01:33:32
Synopsis:
What keeps us going? How do we navigate the reoccurring complexities of life while still maintaining a creative lifestyle? Is there any real secret, or is this a process unique to each individual? Jenny, Lindsay, James and Calvin discuss this, followed by an interview with visiting artists Bene Rohlmann and Christina Mrozik.

Show Notes:
On Being podcast w/ David Whyte
Max Löffler

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Norway Creative Residency Program

This summer, we traveled with Team Sol and Team Vann through the countryside of Norway! We explored historic waterfalls, hidden pools, swam in the Hardangerfjord, learned about traditional Viking folklore and boat building, and more. Our teams shared their creative process through artist-led-workshops and conversations. 

You can see more photos from our adventures here!

Applications just opened for the Light Grey Norway Creative Residency 2019!
Apply by September 15th for the opportunity to join a diverse and motivated team of creatives who are willing to share, create, expand their creative practice alongside one another! We are looking for artists from varying backgrounds, geographical locations, practices, and areas of expertise. 

You can find the information page here!

Giving back to the community:
We offer two scholarships for artists that would like to attend the residency program, but may have financial disadvantages, need assistance with travel, or are emerging artists in any field. You can submit your application alongside the residency application to be considered. 

We also host a free, public event and exhibition hosted at Light Grey Art Lab to conclude the program, experiences, and work made during and after each session. The work celebrates the nature of exploration, challenging one's own practice, incorporating new tools, and personal growth. You can view past residency exhibitions on our webpage here. 

To see more travel programs and opportunities, visit our travel page.
Questions? Send us a note: hello@lightgreyartlab.com

TRIBUTE TO 25 YEARS OF MAGIC: THE GATHERING and THE ULTIMATE FANTASY Artists Announced!

We are thrilled to announce the artists of the upcoming Tribute to 25 Years of Magic: The Gathering and The Ultimate Fantasy exhibitions! Get ready to sling some spells, summon creatures, and explore all the realms of the fantastical on July 6th, 7-10pm at Light Grey Art Lab! To celebrate the anniversary of this important piece of pop culture, over 100 artists will be recreating their favorite Magic: The Gathering cards or developing original new worlds in the Ultimate Fantasy! Stay tuned!

MTG Tribute Artists: Jeff Menges, Andrew Olson, Michael Meier, Paige Carpenter, Stephen Wood, Jake Skalish, JB Casacop, Evan Montiero, Christopher Hegland, Piya Wannachaiwong, Robert Young, Diana Van Damme, Carisa Swenson, Jeremy Carver, Victoria Balbes, Alex Stone, Angela Rizza, Travis Purvis, Andrew Soman, Felipe Gaona, Ellen Schofield, Charlotte Vandawalker, Christopher Schons, Jai Kamat, Chelsea Harper, Colin Foran, Dylan Briones, MJ Pajaron, Sheena Klimoski, Danielle Storey, Nick Lasovich, Allen Geneta, Robson Michel, Lucas Durham, Laura Galli, Lorenzo Massaro, Pablo Rivera, A.Lundell, Inka Schulz, Christopher Hanson, Jacob Walker, Cody Larson, Brian Gilman, Joshua Zentner, Galacia Pokos, John Bivens, Sarah Huisken, George Outhwaite, Mike Jasnowski, Kevin Jay Stanton, Darnell Lysius-Dicette, Grace Kim, Calvin A., Nadia Rausa, Rio Burton, Jonathan Hill, and William Zolla

The Ultimate Fantasy Artists: Jeff Menges, Stephanie Cost, Andrew Olson, Kristina Carroll, Christina Rycz, Stephen Wood, Brett J. Ikenberry-Humphrey, Karlen Tam, Reiko Murakami, Rob Dunsmuir, Sarah Lindstrom, Corinne Reid, Kat Lyons, Sarah Morris, Michele Giorgi, Marisa Erven, Chris Norden, Amanda Kiefer, Breana Melvin, Rory Carson, Catherine Unger, Shafer Brown, Cleonique Hilsaca, Joe Casanova, Hunaid Taj, Emerson Rabbitt, Thad Stalmack II, Tashi Reeve, Karina Rehrbehn, Natalia Pierandrei, Olivia Pecini, Grace P. Fong, Preston Stone, Tom Kilian, Maggie Ivy, Steven Skorjanec, Diego Gisbert Llorens, Sam White, Miko Maciaszek, Bianca Bautista, Michael Edward Smith, Christina Qi, Dani McCole, Deena So`Oteh, Anna Rogers, Katherine Souza, Jabari Weathers, Jenny Sun, Jacob Whitlow, Jessica Bishop, and Jimmy Ellerth

Artist Interview with Samuel Shumway

Meet Samuel Shumway, a stop-motion animator, illustrator, papercraft artist, and lover of all (I repeat, ALL) kinds of food. Samuel grew up in Baltimore before attending the Parsons School of Design in NYC, where he received his BFA in Illustration. His current work has him doing a variety of quirky and eclectic projects, including making costumes for pugs to building archeological sites in his bedroom. Read below to learn more about Samuel's life and work! 

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What keeps you busy in the day-to-day? You seem to have your hands in a lot of different places - sculpture, illustration, video, animation, and more; do you have any side hobbies you enjoy as well? 

My day job is as a fabricator and stop motion animator. I’ll get brought on to projects if props need to be made, but my passion is animation. As far as hobbies, I like reading, podcasts, playing pool, and being a homebody. I like traveling, and I try to travel as much as possible. That’s where the videography stuff comes in: I like documenting my trips. I think it’s a nice time capsule. 

What’s your workspace like? Many of your animations include a variety of colorful objects, do you keep any collections that help get you inspired? 

It’s chaos, to be honest, but yes, I have milk crates full of colorful props that I’ve used on set. My inspiration comes mostly from the digital realm, but I’m always combing thrift stores to look for objects to animate. I have a studio in my apartment where I work, and when I take on a project I put my whole life into it, so I usually try to reset every week or so. But no one would ever accuse me of being organized. 

Have you always been attracted to playful, poppy images? A lot of your 2-dimensional illustration work is rendered in stark black and white, was this how you worked before getting into bright colors and papercrafts, or do you still bounce back and forth between the two? 

I keep illustration in my back pocket now, although it comes in handy a lot. I have a little bit of an obsessive personality, so when I was in school that meant doing these crazy detailed black and white illustrations in pen and ink. Nowadays, I’ve turned that obsession into making things by hand. I love the therapeutic nature of construction. It’s also a trait that a lot of stop motion animators have, because when you animate objects you’re breaking them down into frames. Sometimes in a single second of video you’re dealing with hours and hours of work. I do feel like I was a different person when doing those illustrations though, especially when contrasted with my current work. 

Speaking of, when did you start getting into working with paper as a sculptural medium? 

This paper stuff really started as a hobby. I made my first paper meal in August 2017 and it just grew from there. I think my first one was a raw steak. I’d ask my followers to suggest paper meals they’d like to see made and I had an Excel spreadsheet with all the suggestions. I think I have something like 300 suggestions now.

But even before that, I’d always liked using paper. It wasn’t forgiving but it has such a nice texture to it. People really responded to it and that motivated me to make more. At the height of it I thought, “this could be ‘a thing’”; paper meals are about as niche as you can get. But in the end it’s just a fun thing I get to do in my spare time, and I’m pretty ok with keeping it that way. 

Yeah totally! Your piece in Foodies is incredible - an appetizing and gravity-defying bowl of brightly colored noodles created from paper and wood. Can you tell us more about it, what the process of making it was like, and what the recipe means to you? 

Thank you!! That’s very sweet of you to say. I’ve always wanted to do a gravity-defying piece and I thought the noodles were a great vessel for that. The process was not as bad as I’d thought, the main obstacle was shipping it, but building it involved a lot of math and planning. The concept isn’t super groundbreaking, but I knew that my pieces didn’t read very well as prints, so I asked for permission to ship a physical piece to LGAL and you guys let me! I had a “go big or go home” moment because it’s the first time I’d had my work displayed anywhere. 

What are some of your other favorite foods or recipes? You mentioned you travel a lot, what are some of your favorite things you’ve eaten on these travels? 

I’m very faithful to my crock pot; my significant other and I try to do meal prep for the week on Sundays. Aside from that, I love all foods. This might be a cop-out, but I love eating and I love food. One thing I am NOT is picky, so when I travel I’ll eat whatever is offered. The only thing I’ve turned down is pickled fish at 9am when my girlfriend and I were in Finland for a layover. I’m not that adventurous around breakfast time. 

You do work for a variety of companies, projects, and individuals, however your work is always distinctly yours. What’s it like to collaborate with these clients, big or small? Do you keep a lot of creative freedom? 

I try to be as nebulous as possible in my work. i was taught that the client gets what they ask for, because i’m being hired to accomplish the clients vision. That being said, sometimes it takes a little encouragement to help us both get the best possible product. The best kinds of gigs are the ones where the client says “do what you want”, but that doesn’t happen as often as I’d like

Who are some of your inspirations, within the realm of visual arts or elsewhere? 

I’m inspired a lot by low poly art, which is often rendered in 3D modeling software and has a geometric quality to it. I like my stuff to be a communication between geometric shapes, which is why math is so important to my papercraft. Using a medium that’s 2-dimensional and making it 3-Dimensional is super gratifying. If we’re talking in the broader strokes of inspiration, I like tropical/west coast vaporwave aesthetics, 20th century nostalgia and type specimens, and analog photography, among other things. Memphis-style patterns, high saturation and color contrast, sea foam, coral, mint... 

What are some techniques, narratives, or icons you want to work with in the near future? 

In the immediate future. I just want to make cool things. I’ve said before that I’m happy when other people are happy. I’ve had the pleasure of working with a spectrum of companies as well as a handful of stop-motion studios and, in the end, that’s where I thrive . Right now I’m super satisfied with taking things as they come. 

Any last thoughts? Where can people find you on the web? 

Sure! thanks a bunch for letting me do this interview. I’m on instagram at @yungshum and my website is www.samuelshumway.com

Immersion: Iceland Residency Exhibition Recap!

A huge thanks to everyone who made it out to the exhibitions this past Friday! It was great to celebrate the Immersion: Iceland Residency Exhibition, new work made by the artists who attending the Light Grey Iceland Residency 2017! 

The exhibition also featured three solo and featured collections about experiences in nature, exploration, and woodland creatures: 

Tea for Two is a collaborative show between the creative duo, Junyi Wu and Jon Lau, displaying colorful and textural illustrations. Bioluminescence includes paintings and screen prints by Meet Us in the Woods (Julia Kuo and Emily Dove). And we were proud to present a solo collection Rewilding with beautiful embroidery works by Uk-based artists, Chloe Giordano. 

The shows will be on display through June 30th

You can find all of the exhibition photos on the Light Grey Flickr pages here!
And find Bioluminescence, Rewilding, Tea for Two, and Immersion on the Light Grey Shop here!

2 CALLS FOR ARTISTS: Tribute to 25 Years of Magic: The Gathering & The Ultimate Fantasy!

2 NEW CALLS FOR ARTISTS!
SUBMIT YOUR LINKS BY MAY 27!

A TRIBUTE to 25 YEARS of MAGIC: THE GATHERING
An homage to the world of Magic: The Gathering and the memories we made along the way
Opens July 6, 2018 / 7-10pm

-and-

THE ULTIMATE FANTASY
An exhibition of fantasy locales by professional game artists and worldbuilders
Opens July 6, 2018 / 7-10pm

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TWO (COUNT 'EM 2!) CALLS FOR ART AT THE SAME TIME!?
READ BOTH DESCRIPTIONS AND LET US KNOW WHICH ONE / ONES YOU'D LIKE TO BE A PART OF IN THE COMMENTS SECTION BELOW!

A TRIBUTE to 25 YEARS of MAGIC: THE GATHERING
Tap some land to harness the epic creatures, powerful artifacts, mystical enchantments, and the wonder that courses through the history of Magic: The Gathering. This year is a huge milestone for Wizards of the Coast as it marks Magic: The Gathering's 25th anniversary! And it's no surprise, Magic: The Gathering has become one of the most enjoyed tabletop games on the market and features one of the most beloved fantasy worlds of all time! 

Wether you discovered veteran game designer Richard Garfield's masterpiece early in life, or came to it recently, many of us have developed visceral memories and heartwarming experiences centered around the game. And this summer, we here at Light Grey Art Lab want to know what Magic: The Gathering means to you. 

Do you live for cracking open a new booster pack and taking a big huff of fresh ink? Did you ever stay up all night crafting a deliciously devious deck, complete with the perfect sideboard? Have you ever poured over the gorgeous card art and invent your own stories playing out behind the scenes? Did you have a secret (or not so secret) crush on the powerful and hunky Planeswalker Jace Beleren? Do you live for the rush of adrenaline you feel as you shuffle your deck before each tournament match? Did your mother teach you to play before you could even read?

Light Grey Art Lab welcomes Magic: The Gathering lovers; past, present, and future to the drawing board to pay homage to 25 years of MTG memories we made along the way.
 

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THE ULTIMATE FANTASY
Building worlds and making games can be fun, but it's no joke. Game artists pour endless time, creativity, blood, sweat, and tears into the worlds they create to facilitate exciting adventures, engaging design, and memorable experiences! And Light Grey Art Lab wants to give these worldbuilding professionals a moment to stand in the spotlight for The Ultimate Fantasy! 

If you've played some part in making art and worlds for games (tabletop, video, or otherwise), we want to see you flex! Light Grey Art Lab invites you to show off your Ultimate Fantasy universe!

We're dying to see the epic vistas, fanciful forests, sun-scorched wastelands, and cavernous dwellings that make us want to ditch reality and dive deep into the worlds you create! 

Fantasy is a broad term, but we're leaving it up to each artist to define what that means! This is a no-holds-barred chance to show off the ultimate fantasy locale that's shouting from deep down within you!

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DATES & DEADLINES TO CONSIDER:
MAY 27 : Call for art ends
MAY 29 / 30 : Artists announced!
JUNE 12: Promotional Materials (Optional) Due to the gallery for Press Release
JUNE 28: ARTWORK DUE TO THE GALLERY
JULY 6: OPENING RECEPTION!

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HOW IT WORKS!
If you're new to participating in a Light Grey show, here is how the calls for art work! Once the call closes, we jury the show and contact all of the participating artists. You do not have to make a work of art unless you receive the participating artist email. Each participating artist is notified by email with a handy log-in page to where they can find a ton of helpful info for shipping / sending artwork for the show as well as promotional details, how sales and listings on the online shops work, and any other information! As always, work is priced by the artist and we have a 40 / 60% commission in favor of the artist! :)

We welcome all types of artwork! In order to make it easier for people to participate from afar, we do offer printing/framing services for digital artists or individuals that do not wish to ship a frame! This info will be provided in the log-in page for your convenience!

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HOW TO SIGN UP!

SO! If you're interested in joining us for one, or both of these exhibitions! Please comment on this blog post with your name, email, a link to your work, and a note about which show you'd prefer to be in! :) Please do not send any emails, as they get lost in the shuffle! :)

EXAMPLE:
Lindsay Nohl
hello@lightgreyartlab.com
lindsaynohl.com
Interested in both! 
A TRIBUTE TO 25 YEARS of MAGIC THE GATHERING -and-
THE ULTIMATE FANTASY

Please note! If you are interested in both, please note your preference on TOP. If we are able to accommodate you for both shows, you will receive an email with information for both! If we are only able to accommodate one, we'll make sure to send you the information for that show ONLY.
Thank you very much and can't wait to show with you!

Questions? Send us a note! 
Hello@lightgreyartlab.com

Artist Interview: Helena Perez Garcia

Meet Helena Perez Garcia, a prolific Spanish-born, London-residing illustrator who's worked with clients such as Penguin Random House, BBC Proms, Buzzfeed, and more. Recently, she's published two new books in Spain: an illustrated adaption of Virginia Woolf's Orlando, and La Isla de Los Libros Andantes, written by Vicente Muñoz Puelles. She's also published a new book in the US, How The Finch Got His Colors, written by Annemarie Guertin. Read below to learn more about her process and interests! 

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Hey Helena! What is your workspace like? What creates the perfect space for your practice? 

My workplace at the moment is a small corner in the living room. My desk is in front of the window, and I really enjoy working with lots of natural light. I also love how quiet the neighborhood is. My flat is located in a residential area, so there's no traffic. I enjoy the silence when I really need to focus on a very delicate task, but I also love putting on some rock music in the morning to feel energized.

I'm happy with my workspace at the moment, but I'd love to have a bigger studio; a whole room of my own. Lately I'm having a lot of trouble with storage, as I work with traditional media (gouache on paper) and big formats like A2 and A1. I've been struggling to find a place for all my Illustrations. At the moment they're in folders everywhere: under the sofa, on chairs, etc. My ideal future studio will have a big cabinet with a set of drawers where I can put all my completed work. I also like my studio to be tidy, as I can't work comfortably in a mess. Inspiration is very important for me too, which is why I have a shelf with lots of art books.

What is your usual process when approaching a piece? 

I start by doing some research: looking for information about the topic, images that might inspire postures and compositions, etc. I then start working on the sketches. I usually do two, three or even four sketches until I'm happy with the result, and then I start working on the final piece. When I work on a commissioned project, I always make sure that the client is also happy with the sketch before moving on to the final Illustration.

You cite literature and cinema as being 2 of the driving forces behind your work - what films or pieces of literature have affected you the most? What do you look for in these mediums? 

Regarding cinema, I admire the work by Jean Cocteau. I watched 'La belle et la bête' at the BFI in London a few years ago and I was struck by its inventiveness, beauty, and surrealism. I've been a big admirer of his work since then. I also love the work of [Jean-Luc] Godard and how he cleverly uses composition and colour within his films.

As for literature, I've always been inspired by writers like Albert Camus, Virginia Woolf or Gabriel Garcia Marquez, just to name a few. I've created some illustrations inspired by 'The Myth of Sysyphus', by [Albert] Camus, a piece that really made me think. 'The Waves' by Woolfe also struck me a lot, and inspired lots of sketches that are waiting to become illustrations.
 

When did you discover your love for the surreal? What draws you to this dreamlike imagery?

I've been intrigued by the work of Surreal painters like Dali since I was a teenager. But then I discovered the work of Magritte and was blown away. I really like when reality and fiction are blended and you can no longer tell the difference between one or another. I'm also very interested in philosophical ideas of how perception is subjective, questioning if what we perceive is actually real or just constructed by our imagination.

You’ve worked on quite a few books in the past, is there a specific genre that you get especially excited about working within? Is there any genre or type of story that you find particularly difficult to translate into an image, and how do you work through that?

I enjoy illustrating all genres. I like the challenge of adapting my style depending on the book; a story for children, a classic tale, a fantasy, a ghost story… I haven't illustrated a science fiction novel yet and I'm looking forward to doing so. I think it will be a challenge that will help my work evolve.

I think poems are maybe not the hardest kind of text to translate into an image, but the trickiest. When I illustrate a poem I try to create poetic illustrations that reference the text in a subtle way, but also give it a new meaning.

Nature and plant life plays a large role in your work, but you also seem drawn to classical architecture and the atmosphere of quaint towns. Are there any specific locales you find especially inspiring? 

I love the landscape of the English countryside. I'm from the south of Spain, and the vegetation is not as abundant as it is in other parts of Spain. So when I moved to the UK, I was struck by the intense green of the rolling hills and the beautiful vegetation in English villages. Regarding architecture, I really like the beautiful Tudor houses that you can find in many English villages, but I also love classic Italian architecture, with its large windows and bright colours.
 

Can you tell us about your piece in Arboretum, Vase?

This piece is part of a series of illustrations that explore the idea of identity and the self. I like to include plants and flowers in my work, as to me they represent a connection with nature that we shouldn't lose.

Are there any dream projects you’d like to work on, in the near future or beyond?

I'd love to illustrate the works of my favourite writers. I've just published a dream project; the novel Orlando written by Woolf and illustrated by myself, but I'd absolutely love to illustrate every single book she wrote. I'd also love to work on a mural, something on a larger scale, which is something I haven't done yet.
 

Any last thoughts? Where can people find your work? 

People can find my work on my website (helenaperezgarcia.co.uk) and my Instagram https://www.instagram.com/helena.perezgarcia/

Immersion: Iceland Residency + Featured Collections, Open May 25th!

May 25th from 7-10pm at Light Grey Art Lab
Immersion: Iceland Residency Exhibition
Bioluminescence: Meet Us in the Woods, Julie Kuo and Emily Dove
Rewilding: Solo Exhibition of Chloe Giordano
Featured Collection by Junyi Wu and Jon Lau

Join us Memorial Day weekend, May 25th from 7-10pm, for the opening reception of four new shows about the hidden elements of the natural world with bioluminescent curiosities, small creatures realized through expert needlework, and original artwork inspired by the diverse and ever-changing geology of Iceland. 

The Immersion Exhibition includes the 50+ illustrators, art directors, photographers, video game artists, and creatives from around the globe that participated and traveled together in the Light Grey Iceland Residency 2017. Artists hiked and sketched throughout the landscape, learning about the history and mythology each day, and exchanging ideas through artist-led workshops and conversations at night. This exhibition is a collection of new work, including original illustrations, paintings, zines, and multimedia experiences capturing the senses, memories, and visceral reactions to being a part of the landscape. Along with the exhibition, May 25th will be the launch of the Light Grey Iceland Residency 2019 Creative Applications.

This is a show about immersive experiences, sinking into the land and embodying the qualities of the earth around us. While daydreaming on mountainsides, ideating amongst the moss, nooks and crannies, and melding into the landscape, we became part of the experience, and it became part of us. -- Light Grey Founder, Lindsay Nohl

Bioluminescence: Meet Us in the Woods is a creative partnership between illustrators Julia Kuo and Emily Dove. They have been sharing their love for the environment through writing and drawing, most recently as artists in residence in Banff National Park. Bioluminescence is the first solo show by Meet Us in the Woods. Collectively, the duo has kayaked among dinoflagellates in the Bay Area, held foxfire in Taiwan, and gazed up at glowworms in New Zealand. Julia’s video piece and paintings explore the magic and delight of witnessing the first bioluminescent sparkles in the darkness, while Emily’s silk-screened pieces highlight several of the curious life forms responsible for the surreal glow.

Rewilding:  UK-based embroidery artist, Chloe Giordano, creates a series of intricate needlework with subjects of woodland animals, touching on interconnectedness and the need for biodiversity. The series, Rewilding seeks to replant forests, reintroduce missing species and, most importantly, to allow the land to rewild itself, free from human intervention.

Thanks and we hope to see you here!

Foodies & Synesthesia Opening Reception!

Foodies : Collaborative Postcard Project About the Things We Eat
Synesthesia: Curated by Rafael Mayani About the Blending of Senses
Open April 27th - May 20th

Thanks to everyone in Minneapolis who made it out to celebrate the opening reception of Foodies & Synesthesia this past weekend! We had an incredible time looking at all of the food illustrations and sharing some of our favorite recipes! 

The Foodies Exhibition features new work by nearly 90 illustrators, designers, and creatives from around the globe who have created work about their local ingredients, family recipes, tastes, tips, and experiences in the kitchen! Artists share a variety of recipes including homemade chai, pork belly sandwiches, Hungarian Ratatouille, strawberry lemon cake and more!   You can check out all of the originals, framed prints, and limited edition postcards on the Light Grey Shop here!

We also celebrated the opening of Synesthesia, an exhibition curated by Rafael Mayani all about the blending of senses, scents and memories! The show features twelve international artists as they explore the relationships of senses through colorful and visceral diptychs. You can also find these pieces on the online shop here!

This show will be on display through May 20th! 
Mark your calendar for the next opening reception on May 25th from 7-10pm. 

You can see more photos from this reception and show and on the Light Grey Flickr page here!

Artist Interview: Ann Xu

Ann Xu is an illustrator and comic artist currently based in Baltimore, Maryland. Xu grew up in San Jose, California, and graduated from the Maryland Institute College of Art (MICA). Her work can be found on the women-focused newsletter The Lily, published by the Washington Post, and has an upcoming comic featured in The Believer's June/July issue. Read more about her work and process below!

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Your work always has fantastic texture and line quality, what are your favorite mediums to work with, and what is your process usually like when approaching your pieces? 

Nowadays, I mainly have two modes of working I like to use: if I want thin ink lines, I like to use a very basic fountain pen, and for something more shape-based, I’ll tend to use a dark color pencil. Graphite is fine too, but I prefer color pencils because they’re less shiny and a little more crayon-like. If I’m planning a piece with less detail or simpler shapes, I’ll use pencils, but if I know I want to go wild with line detail I’ll use the pen.

Does this process change when approaching narrative works?

I don’t think it changes much; a lot of it is also just the vibe I have in my head while I’m thinking of what I want a drawing or comic to feel like. Or if I have one particular thing I want to draw in a certain way, then everything else will fall in line behind that. In a comic I did for an anthology called The Sun and the Wayward Wind, during planning all I knew was that I wanted to draw a lot of smoke and fire, and I wanted to build up all the smoke using pencil, so that’s what I decided to use for everything. 

Your work often features dreams, such as the dream sequence in Sleeper Train, or the drawings based on dreams of your own in your autobiographical work March Snowfall. How do you think your dreams influence your work or daily life? Do you keep a dream journal?

I don’t keep a dream journal anymore, but I used to do that a lot when I was a kid! I was really into lucid dreaming, so I would record my dreams in a lot of detail so that I could be in that mindset. Nowadays I only really take notes about a dream if it was particularly memorable or interesting, although I do have some more nightmare-adjacent dreams in the back of my head for making into comics sometime. I simply really like the feeling of dreaming, where anything can happen and you’re alone in your thoughts. They’re also quite vulnerable and I love having moments of honesty in a comic.

You also have several works about moving, traveling, or generally being in transit. Do these themes come from your own experience? What draws you to that narrative? 

Yeah, I did White Tape the earliest, and I was thinking of it as the prologue to something longer, so the main character’s family moving in that story was a way to set her up in a new situation. When I drew Sleeper Train half a year later I realized that I had accidentally written almost the same thing into the story—a girl moves a long distance away because of her parents. The theme of moving is definitely there in both, but for different reasons. 

Sleeper Train is much more personal to me. Every time I go back to China to visit family, there’s just so much traveling involved. The train ride between my parents’ hometowns is about 8 hours long and I have a lot of memories of those trips, climbing onto the top bed and lying there between waking and sleeping while the train clatters around me. I love the empty scenery and the long hours spent alone, even though you’re also frequently in the company of strangers. And I think in the case of Spring Break, a lot of the appeal of the bus ride to me was also the feeling of independence. Like if I really wanted to, I could just buy a ticket and get on a bus for half a day to go see my best friend in another state. 

Can you tell us about your piece in Arboretum, Princess?

I always liked The Tale of Kaguyahime when I was younger, which is about a moon princess who was found as a baby inside of a stalk of bamboo. The piece I made, “Princess,” isn’t so much directly based on that as it is inspired by the feeling that folktales like that give me. I think in general, stories about princesses and girls who were shrouded in mysteries really appealed to me, as well as the idea of people being born from or found inside of plants. When I was thinking about the theme of Arboretum, I kept coming back to Kaguyahime.

What are some narratives you want to tell in the future? Is there anything you’d like to explore more within your work, technically or content-wise?

I definitely do want to try writing more fiction. Personally I feel like that’s a weakness in my skill set. I made a sci-fi-ish fiction comic a year ago that I just haven’t been fully satisfied with, but I might try going back to that sometime. I love autobio and won’t stop doing that, but I want to be able to write and draw all kinds of things. I want to keep polishing my writing and drawing to be not only more technically competent, but more sensitive and emotionally detailed.

Who are some of your favorite artists right now? What other media or sources do you take inspiration from? 

I love Niv Sekar and Carolyn Nowak’s illustrations and comics. They have very different ways of working but they both have really great skills in conveying emotional depth. I read Nowak’s Diana’s Electric Tongue last year and it just changed me. Other than specific artists, I do also love turning to anime or manga for notes on atmosphere and feeling, which I think a lot of them really excel at compared to Western media overall.

Any last thoughts? Where can people find you on the internet?

You can find my website at annixu.com, and I’m on Twitter and Instagram @epershannd!

Foodies & Synesthesia Opening Reception next Friday!

We are thrilled to welcome you next Friday for the opening reception of Foodies & Synesthesia!  The opening reception is April 27th from 7-10pm! 

Benjamin Mills

Soojin Lim

The Foodies exhibition calls upon 90 creatives to share their love for food through limited edition recipe postcards, which include beautiful and unique food illustrations inspired by hometown favorites, local ingredients, and the artists personal favorite dinner dishes. As a collaborative project, each of the contributing artists is receiving a complete set of recipe cards in a wooden recipe box to share, use, and cook with. Artists are creating a variety of dinner entrees, side dishes and desserts for the perfect date night at home.

Elena Resko

Corinne Caro

All artwork will be available through the Light Grey Shop and website.

Arboretum + Spring Exhibitions Opening Reception!

Last week was the opening reception of our Spring Exhibitions here at Light Grey Art Lab - thank you for everyone who was able to stop by and support the shows! Arboretum, The Flush of Spring, Resurgence, and Campfire Comics & Stories is now on display through April 20th! You can view all of the pieces on the Light Grey Shop and online galleries here!

The Arboretum Exhibition includes the work of 70+ illustrators, designers, and creatives from around the world. Each artist took on subjects of botany, the history of tree species, enchanted forests, mythology, and designed garden spaces. Along with the original pieces, you can read about the research and inspiration behind these botanical explorations!

"The graceful, expressive shape of weeping trees is usually an unnatural growth pattern that comes from mutations cultivated by human intervention. Propagated via grafts, the seeds of the weeping elm produce non-weeping children." Wenting Li

"While in England, I got the chance to see old yew trees. These massive trees are thousands of years old. They're trunks are wide and hollow with dirt. Their branches stretch like heavy limbs reaching for the dirt. Each one has lived a time longer than I can imagine. And each one is poisonous. The only part of the yew tree that doesn't contain alkaloid toxins is the flesh of its red berries. It's surreal that something so majestic and old can be so deadly." Niky Motekallem

The Resurgence Exhibition is all about themes of renewal, emerging after the long winter, change, and growth. The show features the work of ten illustrators through screen prints and riograph prints,  embroidery, and archival prints. 

The Flush of Spring is a show about renewal, energy, and flux, and the spirit. Our lives, too, exist in seasons; they ebb and they flow, energy enters and exits, we experience true beauty and true pain. This show features makers whose work is itself fluid, active, poetic, and experimental. 

And it was a huge honor to feature the release of a brand new local anthology. Campfire Comics and Stories is a risograph-printed anthology zine published by Dennis Madamba and Kyle Harabedian that features work by fourteen international artists. Each artist takes a turn telling a story around the campfire. The theme is “Based on a True Story” and artists comics feature intimate moments, conversations over tea, train rides, and memorable personal narratives -- a lovely collection of illustrated stories.

You can view more photos of the exhibition and opening reception on the Light Grey Flickr page here! And click the links to view the galleries of Arboretum, The Flush of Spring, Resurgence, and Campfire Comics & Stories.

FOODIES Artists Announced!

We are thrilled to announce the artists and collaborators of the upcoming Foodies exhibition! Mark your calendars for April 27th, 7-10pm at Light Grey Art Lab for an international exhibition about family recipes, smells, and tastes of home, as 90+ artists share their personal recipes and kitchen favorites. 

Foodies Artists: Alyssa Nassner, Alyssa Scott, Alyssa VanHulle, Anissa Espinosa, Andrew Kolb, Angela Hsieh, Angela Rizza, Anika Starmer, Ann Ryan, Anne Passchier, Anne Ulku, Araya Jensen, Ashley Diers, Ashley Nicole DeLeon, Bailey Watro, Benjamin Mills, Bianca Bautista, Brett Martin, Cai Tse, Carmen Chow, Charis Loke, Chelsea Harper, Cheryl Kook, Cleonique Hilsaca, Corinne Caro, Crystal Chang, Darcy Guenterberg, Devon Bragg, Diigii Daguna, Dingding Hu, Dream Chen, Elena Resko, Elise Hatheway, Emily Whang, Gica Tam, Hanna Lee Joshi, Hari Conner, Ileana Soon, Jasmin Dreyer, Jenny Wells, Jen Taylor, Jessica Roux, Jez Tuya, Jo Yeh, Joy Ho, Judit Neubauer, Julie Van Grol, Justine Raymond, Kara Somberg, Katie Putt, Kayla Stark, Kelly Koay, Kelly Leigh Miller, Kelly Smith, Kendall Quack, Kris Easler, Kytana Le, Liam Andrew Cura, Linda Liu, Lindsay Nohl, Lindsay Dale, Lisa Wiley, Lydia Guadagnoli, Maddy Angstreich, Maria Rose Adams, Marisa Seguin, Marya Vidal, Meera Lee Patel, Meg Hunt, Megan Phonesavanh, Meredith Miotke, Mia Lagos, Mike Jasnowski, Natalie Shaw, Olga Chicherova, Olivia Shetler, Patricia Mafra, Patricia Thomasson, Rachel Idzerda, Rebecca Green, Redcruiser, Renee Arabia, Robert Young, Rodrigo Aviles, Sam Michaels, Samuel Shumway, Sebastian Koch, Shafer Brown, Shauna Lynn Panczyszyn, Sherry He, Siyin Tse, Soojin Lim, Tidawan Thaipinnarong, Trisha Previte, Veronica Stone, Victoria Skellen, and Xiao Qing Chen

CALL FOR ARTISTS: FOODIES

CALL FOR ARTISTS: FOODIES! - CALL CLOSED!
We'll be posting the participating artist list soon! Thanks for submitting!

You've got about forty minutes before you have to be at their house. The ensemble of sounds and smells fills the kitchen, and you dance between stove, to sink, to cutting board, and back, just like you've done for years. This is your specialty. Muscle memory has kicked in, and instinctively, you weigh a pinch of salt in your hand before throwing it into the skillet. You can tell by the texture that it's almost there. You dip a spoon into the mixture and taste. 

Yes. This is it.

FOODIES
An exhibition about the things we eat
Opens April 27th • 7-10pm
CALL FOR ART ENDS March 26
Light Grey Art Lab
118 E. 26th Street #101
Minneapolis Minnesota 55404
612.239.2047

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We are looking to create the ultimate global potluck featuring home-cooked dishes from food-loving artists around the world. FOODIES is an exhibition featuring imagery of dishes we love to cook. In addition to exhibiting work about the food we love, each participating artist will receive a recipe box filled with the dishes from each artist involved! 

For the month of April, we are are looking for artists that want to draw food with us and share the recipes for how to make it at home! We're specifically going to be looking for a lunch or dinner-type dish. This can be in any category you wish (including sides, mains, appetizers, desserts...and if there is something specific to your home town, region, or area of the world that you'd like to introduce to the other artists involved, we encourage it!)

The big concept is to try to bring home-cooked food to each others tables through sharing what we all like making at home! You'll be able to suggest alternative ingredients on the recipe card (say, for example, you want to make a vegetarian option suggestion, or a gluten free option...) as well as provide any information you'd like about the history of the dish / ingredients via the didactic that will accompany the work in the physical and virtual galleries.

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During the exhibition, we'll be asking artists to create an work of art that is 6" H x 9" W that features a compelling image of their chosen dish, as well as a limited edition of 100 4" x 6" double-sided recipe cards featuring that image on one side, with the recipe for how to make it on the other. 

THEN, we'll display the original in the brick and mortar gallery (this could be in any medium!)  along with #1 of the edition of the recipe cards, and each participating artist will receive a complete collection of recipe cards from the FOODIES exhibition (one from each artist involved.) The remainder of the recipe cards will be for sale at the gallery along with the original work for the duration of the exhibition. 

*** 

We are looking for artists that wish to cook with us and share their special dishes with others!

Please submit your links below in the comments! (please do not send emails as they sometimes get lost in the shuffle!)

The work will be displayed in our brick & mortar gallery in Minneapolis as well as permanently archived on the Light Grey Art Lab exhibition site, priced by the artist, with our standard gallery commission of 60% / 40% in favor of the artist. We do offer printing services to help people that would like to submit without having to ship a piece, as well as frame rental for those interested. More information about print on demand services or other show specifics will be sent to all participating artists as soon as the jurying is complete!

If you'd like to be involved and create a piece of work for this upcoming show, please put your name, email, and links to your work online below in the comments section by MARCH 26th! We will be jurying the exhibition as the entries are received and we will be notifying all participating artists via email with more information about the exhibition timing, sending artwork, and the other participating artists by March 28!

Example:
Lindsay Nohl
hello@lightgreyartlab.com
lindsaynohl.com

Dates to consider!
March 26: Call for art ends
March 28: Artists Announced on or before this date via email, blog & social media. Artists receive all show info via the artist log-in page.
April 18: All artwork and recipe cards due to the gallery. (Digital and original works)
April 27: Exhibition opening reception at Light Grey Art Lab in Minneapolis and online!

This is a VERY FAST call for art, as we have a lot going on at the gallery this month! But, if you are quick and you would like to be a part of the show, please apply in the comments!

Questions? Send us a note! Hello@lightgreyartlab.com

Spring Exhibitions at Light Grey Art Lab, Opening March 23rd!

Join us for the newest shows coming to Light Grey this spring! We have four brand new exhibitions that celebrate the concepts of renewal, botany, forests, and our relationship with the natural world. The show opening Friday March 23rd from 7-10pm,  features over 100 creatives that delve into the various expressions of the season!

Arboretum Exhibition about Botany: Genetics, Enchanted Forests, and Designed Garden Spaces. The importance of trees goes way beyond their mythology. The rich ecosystems within old growth forests are expansively diverse and complex. The woodlands help provide infinite habitats for creatures, support highways of connective fungal networks which transport energy, nutrients, and information through the forest floor.

The Arboretum Exhibition features original and framed work by 70 creatives from around the world. The work includes illustrations, small drawings, plein air paintings, and expressive botanical images that explore the botany of trees, natural patterns, curated spaces, mythology in the forest.

Hari Conner

Kailey Whitman

Campfire Comics and Stories is a risograph-printed anthology zine published by Dennis Madamba and Kyle Harabedian that features work by fourteen international artists. Each artist takes a turn telling a story around the campfire. The theme is “Based on a True Story” and artists comics feature intimate moments, conversations over tea, train rides, and memorable personal narratives -- a lovely collection of illustrated stories.

Xiaohua Yang and Luisa Rivera

Resurgence Exhibition is a small collection of prints, screen prints and art originals that are all about the return of vibrance and energy that once was lost. As the grey winter comes to a close, all matter of flora and fauna emerge from their dormant states to take on the new season with a burst of color and purpose. In Resurgence, artists create new work inspired by the concepts of spring, renewal, and potential.

Rachel Dreimiller

Sujin

The Flush of Spring collection at Light Grey Art Lab celebrates a metaphysical time of change, of rebirth, of flux. This exhibition features makers whose work is itself fluid, active, poetic, and experimental, where the work shown exemplifies the idea of rebirth through the process of creating new paintings, comics, and offset prints. Spring is a time where a sleepy veil is lifted from all that is organic; our psyches leave their hibernation, the muscles of our bodies release their tension. The imagery conjured by this state of re-awakening speaks of rediscovering elemental oneness with the earth around us, of finding new love in the mundane, and of reconnecting with the experiential.

The opening is free and open to the public- come on by to support the artists!
The artwork will be on display through April 20th and available through the Light Grey Shop.

Arboretum Artists Announced!

A huge thank you to everyone who applied to the upcoming Arboretum Exhibition this Spring! Please mark your calendars for March 23rd, 7-10pm for the big celebration! 

The collections include Arboretum: An exhibition about botany: genetics, enchanted forests and designed garden spaces. We are excited to celebrate our experiences in nature and discovery. In addition to the Arboretum exhibition, we will have featured exhibitions, Resurgence a artisanal exhibition about the return of vibrance, The Flush of Spring a collection of work about change, flux, and energy, and Campfire Comics and Stories is a 26page Risograph comic published by Dennis Madamba and Kyle Harabedian and featuring the work of 13 illustrators.

We are happy to announce the Arboretum Exhibition artists below: 

Allison Carl, Alexis Snell, Alyssa Winans, Angela Rizza, Angela Taguiang, Ann Xu, Arielle Estrella, Ashley Benham Yazdani, Ashley Diers, Caitlin Ono, Cameron Garland, Elena Resko, Emily Walus, Erik Krenz,  Gica Tam, Ginnie Hsu, Gretchen Ellen Powers, Hari Conner,  Helena Perez Garcia, Ingrid Kallick, Isa Bancewicz, Isadora Zeferino, Jay Rasgorshek, Jeff A. Menges, Jenna Kass, Jess Nicholls, Jordan Burby, Julia Iredale,  Kailey Whitman, Kate Sheridan, Kathy de Castro, Kevin Jay Stanton, Kim Smith, Lara Paulussen, Laure Sillus,  Lindsay Nohl,  Lissy Marlin, Liz Nugent, Loreleï Simon, Luisa Rivera,  Maggie Ivy, Marisa Seguin, Megan Vossler, Niky Motekallem, Paige Carpenter, Primary Hughes, Rachel Maves, Rose Wong, Samrath Kaur, Shawn Pedralba, Shelby Hersleff, Shirley Chan, Tara Williamson, Taryn Night, Taylor Price, Vanessa Gillings, Wenting Li, Aaron Asis, Zsalto, Harry Monzon, Lillian Duermeier, Siyin Tse, Tom Kilian, Lucía Rodríguez, Mariya Prytula, Aldy C. Aguirre, Xiao Qing Chen, Yelena Bryksenkova, Yellena James

CALL FOR ARTISTS: ARBORETUM!

CALL FOR ARTISTS: ARBORETUM - CLOSED!
Thanks for applying!

Participating artists announced soon!

The light was waning as he scraped the edge of a sharp rock again against the bleeding birch. It was becoming hard to see, but it was important that this message be finished before nightfall. "Let this be a warning to you," he muttered under his breath. The lines stacked up in a vertical tower, just like hap-hazard scars of an old, stitched wound, sap beginning to ooze from the fresh cuts. The papery bark of the birch curled away from the cuts just barely. The message was clear.

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ARBORETUM
An exhibition about botany: Genetics, Enchanted Forests, and Designed Garden Spaces
Opens March 23 • 7-10pm
CALL FOR ART ENDS FEBRUARY 28

Oghams were the early medieval alphabet of the Irish during the 1st century - 9th century AD and is a representation of letters corresponding with the trees of Ireland, Wales, and Southern England. Each letter not only held symbolism represented by the glyph, but the inherent qualities of the woods they represented. Whether the medieval language was first created as a secret way to send messages by druids, or as an alternative to the latin script, the true reason remains unknown, but the glyphs can still be found preserved in old churchyards of the British Isles.

The importance of trees goes way beyond their mythology. The rich ecosystems within old growth forests are expansively diverse and complex. The woodlands help provide infinite habitats for creatures, support highways of connective fungal networks which transport energy, nutrients, and information through the forest floor. These are places where time stands still and we can see a window into how life on our planet would be without the presence of man. Here, in the forests, we find elements that house the fundamental basis for new medicines, and the presence of natural chemicals that assist in cancer research. There are amazing sustainable and unique food sources found here that are nowhere else on the planet.

This March, we are looking to investigate the nature of botany and will be offering additional programming, lectures, and podcast content around how tree and plant life influence our world. We'll talk with furniture designers about the history and aspects of hardwoods, learn about sustainable harvesting techniques and the impact of global deforestation, learn about the presence of leaves in heraldry, and the homeopathic benefits of certain leaves, flowers and seeds. 

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We are looking for artists that wish to investigate trees with us, in any aspect of their importance. 

Artists wishing to create a small piece of work for the exhibition - less than 8 x 10 in any medium (digital or original,) please submit your links below in the comments! (please do not send emails as they sometimes get lost in the shuffle!)

The work will be displayed in our brick & mortar gallery in Minneapolis as well as permanently archived on the Light Grey Art Lab exhibition site, priced by the artist, with our standard gallery commission of 60% / 40% in favor of the artist. We do offer printing services to help people that would like to submit without having to ship a piece, as well as frame rental for those interested. More information about print on demand services or other show specifics will be sent to all participating artists as soon as the jurying is complete!

If you'd like to be involved and create a piece of work for this upcoming show, please put your name, email, and links to your work online below in the comments section by FEBRUARY 28th! We will be jurying the exhibition as the entries are received and we will be notifying all participating artists via email with more information about the exhibition timing, sending artwork, and the other participating artists by March 2!

Example:
Lindsay Nohl
hello@lightgreyartlab.com
lindsaynohl.com

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Dates to consider!
February 28: Call for art ends
March 2: Artists Announced on or before this date via email, blog & social media. Artists receive all show info via the artist log-in page.
March 14 - 17: All artwork due to the gallery. (Digital and original works)
March 23: Exhibition opening reception at Light Grey Art Lab in Minneapolis and online!

This is a VERY FAST call for art, as we have a lot going on at the gallery this month! But, if you are quick and you would like to be a part of the show, please apply in the comments!

Questions? Send us a note! Hello@lightgreyartlab.com

Interview with Ceramic Artist Samantha Longley

Meet Samantha Longley, a Minneapolis-based ceramic artist who subverts traditional pottery with unique, fluid flourishes. Samantha attended a liberal arts college in St. Paul, originally for painting, but discovered a "profound relationship with clay" in her second year. She now lives in Brooklyn Park, where she also houses her studio. Read more after the break!

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Based on your artist statement, your relationship to your craft is very spiritual (not necessarily in a religious way, but in your connection to nature, the universe). Where do you find the intersection of ceramics and this spirituality? 

It's interesting that I chose ceramics, something so tactile and messy, to talk about something transcendent- but I actually think it is a perfect marriage. Being a spiritual person isn't always about transcending and getting out of your body, or out of this world in order to contact something pure; I believe the pure spirit, that flow of the divine is actually within and all around right here, right now, indwelling and constantly colliding with this world, in the nitty gritty, the unexpected and the mundane.

I think this physicality can be seen as something to be escaped from most of the time instead of embraced, which is why clay is my muse. The process is not glorious; it's messy, frustrating, very physically involved, and rarely works the first time- but it creates a space for me to confront and embrace all my humanness.  It is an expansion of myself in both directions; the somatic involvement pioneers the space for my spirit to open as well (sort of like yoga). It is a beautiful, mysterious, intriguing, and seemingly contrasting harmonization that I constantly seek and find a lot in my studio (the meeting of physical and spiritual that I talk about in my statement) and I get to provide a literal picture for others: infusing dirt with energy and idea and life. Ceramics is how I practice this harmonization and attempt to diverge from my regular dualistic living. 

How do you subvert traditional forms (cups, pots, etc.) to convey these feelings? 

Perfection is not something I strive for in my life or my forms. I have often heard adjectives like "wonky" or "smushed" or "distorted" to describe my work, which I fully embrace. There is a Japanese world view called "wabi sabi" which can be, very simply, translated as "beauty in imperfection, humility and impermanence", but it is much more than that; it is an entire way of being. The aesthetic that tries to contain its essence really challenges western notions of glamour, showiness and symmetry; Wabi Sabi ceramics can feature cracks, distortions, and asymmetry and yet, they are treasured and appreciated for their imperfections. My pots don't look like typical, traditional pottery that is found, which is how I have found a home in the Wabi Sabi aesthetic and mindset. My work is intentionally distorted, sliced, carved and crumpled in hopes of being more true to life which is full of movement, ebbs and flows, imperfections, and is absolutely beautiful when it humbly embraces those things. 

What’s your process usually like? Do you have a specific shape in mind when starting a piece, or do you let it form as you work? 

With my unique forms especially, it is hard to picture exactly what the outcome will be. For these functional forms, I begin with the right amount of clay (about 1 lb for a mug or tumbler), then start by throwing a cylinder on the wheel. When I get close to completing the base object, I sort of stretch it to its limit and hold the top of the form while the wheel is still spinning; this causes the clay to twist and create a lovely soft movement that is unique to every piece; it sort of looks like a wave or moving piece of fabric. Then, if I did it right, the clay will hold its form and it will be frozen in movement forevermore. 

With my newer, more sculptural works that I cut into, I usually begin with an idea and a sketch, but the beauty of ceramics is that you can't always control it. Sometimes it will take you down a different path, and I like to ride that wave. It's good to have a starting place, but if I am trying to follow a 2-D sketch exactly, I don't feel like I'm being true to the nature of the medium and the movement I’m trying to capture; like trying to carve a line around a 3-D form. How to follow a flow around its curves is something you figure out in the moment. 

 

What is it like to be a Minneapolis-based artist? What makes this community unique? 

Being an Minneapolis artist is the best! I love making connections with fellow artists through sales and arts events- it's actually really easy to do since these folks are some of the nicest, most open people I know. I think what makes this community unique is that it feels like a community, not a competition. As creatives, we have an instinctively deeper understanding of one another and can easily bond over the joys and hardships of working as an artist. All of the makers I've met seem so open to connection and are very genuine people; it has helped me to open up and feel proud of my work and comfortable just as myself. I have been so encouraged and embraced by fellow artists in the community, even while working out of a secluded home studio. I'm so proud of this community, the creative, earnest, and beautiful work they make; I love that it is my home! 

Where do you see your practice going in the future? Do you have any dream projects you’d like to work on? 

My hope is to become more and more committed to my work and practice and to move into a larger studio space outside of my home within the next few years. I don't have a clear picture of what I imagine for my future, but I don't let that hinder me from progressing; just as my work begins with a small idea, then grows and evolves and leads me on, so do my dreams. 

Who are some of the other local makers whose work you’re really excited about? 

I love to see what other ceramic artists are doing around me, how they’re being innovative and original within the same medium. I am intrigued by Brett Fruend's extravagant aesthetic exploration in function and just wish I could reach through screens and touch his crystal formation cups forever. I'm also a huge fan (and collector) of Adam Gruetzmacher's work (note from ed. - see our interview with Adam here). It always seems fresh, like he's constantly innovating and never bored with the process. It's really inspiring to me. Autumn Higgins brings me into those quiet, sweet everyday moments with her gorgeously illustrated pots, and I am always inspired by Liz Pechacek's fascination and play with form. 

On a 2D note, I am also really digging Kelsey Oseid's (Kelzuki) fantastic illustrations lately! I love having those beautiful depictions of nature around; they make me so happy and I could look at them all day! I also enjoy Michelle Brusegaard's (MBMB) frankness and play with design over anything and everything. Before I leave the house I am usually wearing my edgy witch's finger power necklace by Betty Jager (3 Jag Design) and/or some beautiful lichen filled jewelry by Sudify. I am a proud owner of a lot of really superior local art and goods. 

See Samantha Longley's work in Winterland, and visit her website here! 

Winterland Opening Recap

The opening of Winterland was incredible! Thank you so much to all of the participating artists, both in the main show and our one-night pop-up shop! We are so happy to see all the new and familiar faces, and to see so many people making it out even in this cold weather! 

Sarah Evenson and Jennifer Bowman, two of the artists in our pop-up shop, enjoying each others company 

Keeli O'Brien and Puck Saint Comics

The pop-up shop featured local artists selling prints, zines, pins, handmade sets of runes, and more. 

Julia of Bingley's Teas demonstrating Gongfu Cha

We were also thrilled to have our neighbor Bingley's Teas in the gallery, demonstrating the Gongfu Cha way of making tea for anyone interested in participating. Our friends at Common Roots Café also provided a tasty tray of baked goods for refreshments. 

Kelsey Oseid (Kelzuki) and her family 

Adam Gruetzmacher with his handmade ceramic works

We got to see many of our Minneapolis maker friends at the opening as well, and it was wonderful chatting with them about their products and processes! 

If you were able to make it out, we hope you had as good of a time as we did! If you weren't able to stop by, the show will be up through February, and you can also find all of the participating makers' collections on the Winterland webpage. 

For more photos from the opening, check out our Flickr page here!

Interview with Ceramic Artist Adam Gruetzmacher

Meet Adam Gruetzmacher, a craftsperson and ceramicist living in St. Paul, Minnesota. Originally from Oshkosh, Wisconsin, Adam attended the University of Wisconsin-Stout, graduating in 2010 with a BFA in Studio Ceramics. Read more about his practice and what drew him to the medium below!

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Hi Adam, How long have you been working in ceramics? What brought you into it?

Counting college, I’ve been working with clay for about 12 years. I like the act of making and it is important that my efforts result in something useful. I was attracted to clay in school because it was the most challenging and demanding medium.  I am never bored and never stop learning.

What is your studio space like?

My studio takes up the majority of the basement of our 1200 sq. ft. house in St Paul. It has a finished ceiling, tile floor, and plenty of florescent lighting. It’s not the dreamiest studio in the world, but very real, very functional, and I feel lucky to have it.

Do you have any philosophies attached to your craft? How important do you see the act of creating handmade goods in this day and age?

As someone who makes useful objects there are three planes of thought that I reference. Firstly, I rely on my applied arts education wherein the foundations are based squarely on the concepts of design.  Secondly, I strongly relate to the ideas and tradition behind craft and craftsmanship, which informs my approach to the materials that I use and the way in which I make.  Thirdly, I reflect on my values as a person to ultimately evaluate my work and add an element of humanity.  I am successful when I have made a well-designed, well-made object that I feel is an honest distillation of my personal values.

What is your process usually like? How did you develop your individual techniques? 

I use traditional wheel throwing and forming techniques, mixed with some occasional cutting and altering to create linear structure in some forms.  I think the repetition associated with any traditional craft naturally leads to the development of technique, which is visible in the finished piece. As the maker grows more skilled in his or her craft, the work more closely reflects the person who made it. This process of developing identity through the physicality of the work is a special aspect of handcrafts.

What is it like to be a Minneapolis-based artist? What makes this community unique? 

There is no better place in the country to be a potter.  There is a lot of studio pottery history in this specific region of Minnesota and there is great public support for the continuation of the craft. I feel lucky to have ended up here.

Where do you see your practice moving towards? Are there any new techniques you’d like to try in the future? 

I am open to anything when it comes to my practice.  In the last couple years I have become interested in carving green wood spoons.  I don’t know a lot about my family, but I have a collection of spoons and scoops used by my grandmother and likely made by my great uncle- and it feels good to practice a craft that can connect me in some way with the history of my family.  The more materials and craft concentrations that I explore, the more I understand the cultural and personal importance of the act of making useful things by hand- no matter the medium.  

Are there any other local makers whose work you’re really excited about?

I’m excited about the broader art and craft scene in Minnesota.  It seems like this state is covered in people who make things by hand either to explore new ideas or maintain and rediscover craft traditions that do not exist anywhere else in the country.  We have a wonderfully supportive public and it’s exciting to be a part of it all. 

You can see Adam's work in the Winterland show in the gallery or on our website, and visit his website here!