ABN: Who are you and what is your vision as an artist? 

Semadar: I am Semadar, an artist and founder of the Neo-Pointillism Movement, which connects ancient art with contemporary realism. Understanding antiquity equips artists to create the future. I feel privileged to recognize the importance of the arts and their philosophical mission in human existence. 

ABN: What is your background? 

Semadar: Since a very young age, I cannot recall a day when I did not draw, paint, or study art. While my studies in journalism have proven to be a valuable apparatus in the articulation of essays and published works, it was never my focus. It is the rigorous and proficient teachings I received at the Académie Arts et Beaux 20 years ago that play a crucial role in shaping the artist that I am today. 

ABN: What is your work philosophy and how does it impact your work? 

Semadar: Art is not just a profession; it is a way of life and a lens through which I perceive and interact with the world. The great master Nicolas Poussin, back in the 16th century, said, “I believe that what is worth doing is worth doing well.” The teachings that I received at the academy were very rigorous and demanding. I impose the same intellectual challenge in the creation of each artwork and its philosophical message. 

ABN: What Artist(s) inspire you? 

Semadar: The inspiration for my creations materializes while studying literary works and essays of great philosophers such as Gaston Bachelard, Jean-Paul Sartre, Joseph Proudhon, and many other great immortals. I have studied the techniques and methods of the Impressionist and Pointillist masters such as Seurat, Signac, Monet, Van Gogh, Pissarro, and their contemporaries, who serve as a continuous source of inspiration. 

ABN: What is the best advice you received? 

Semadar: To create art for the sake of art, not for fame or financial gains, but instead to ensure the authenticity of my voice amidst the cacophony of external influences and trends. 

ABN: When you are not working, where can we find you? 

Semadar: I find solace in the early morning in my garden, where the world is an inspiration ready to be painted. I carry these moments into my studio where the fusion of philosophy, literature, and visual arts emerge on canvas. 

ABN: What have you done recently that enhanced you as an artist? 

Semadar: The interest in art rhetoric, manifested by the 300,000 plus followers on Facebook and by art students, was profound. This inspired the creation of the Semadar Masterclass, where I simplified the complex and eloquent vocabulary of art rhetoric, with the objective that aspiring artists could enter a pictorial universe of the immeasurable secrets of the art world. I simplify simplistically the rhetoric of different movements, from classical art composition to Impressionism, chromatics hierarchy, and the Polychromy of Synthesis, with emphasis on Post Impressionism, and a gaze at the tendencies of the isms.”  

https://www.semadarmasterclass.com/pages/art-masterclass-by-santina-semadar-panetta 

ABN: Any plans for 2025? Where will your creativity take you? 

Semadar: Scheduled for the 2nd of April at the  Carlton Fine Art Gallery in New York, I will be exhibiting eight historical paintings, and on the 3rd of April at Art Expo New York, I will be showcasing two paintings. 

Currently, inspired by global events and philosophical reference material, my artistic focus is on the development of two interconnected collections.

The post Meet the Artist: Semadar appeared first on Art Business News.

Vivienne J Riggio’s artistic journey is a testament to a life steeped in observation and the transformation of the mundane into the extraordinary. Her studio has been described as a crucible where she takes shapes and textures and creates mystical sculptures of wonder. Her trust is built around her deep intuitive character and wildly active imagination. This trust has guided her well before identifying as an artist. She’s been a creative since birth.  

ABN: What is your background?

Born in the coal mining region of Murphysboro, Illinois, and now permanently residing in Santa Fe, New Mexico, Vivienne’s path to becoming an artist was as intuitive as it was inevitable. From her earliest memories, she was captivated by the world’s shapes, images, and designs, finding solace and expression in the arts as a young girl. Her childhood, characterized by quiet introspection and a deep internalization of her surroundings, laid the foundation for her unique artistic language, which she began expressing through three-dimensional art as early as five years old. 

This fascination with shapes led her to the world of design at the Fashion Institute of Design. However, after a summer employed at the Santa Fe Opera costume shop, her vision and a new north star beckoned. That was when three-dimensional life-size sculpture took hold and hasn’t let go since.  

As a career, Vivienne took a dramatic shift towards defending the rights and conditions of factory workers throughout most of the world. This profound pool of collective imagery, culture, language, and empathy has deeply inspired her work. When she wasn’t traveling, she decomposed herself in her art, sculpting, making mosaics, and hiking. 

ABN: What is your work philosophy and how does that impact your work?

As a multi-media artist Vivienne’s superpowers stretch from many regions of her vast imagination. Sculpture, mosaic, metalwork, fiber arts, block printing. “My truth allows me to shift boundaries as the inspiration and images appear.” Her sources of inspiration include other artists, both contemporary and historic, the wilderness, the sky, the sunlight and rain. The seasons of spring, Indian summer, and autumn also deeply influence her work. All these elements are rooted in her subconscious as she is out and about interacting with the world around her. Once she steps in her studio, however, the magic unfolds. 

ABN: What artist(s) inspire you?

I’m inspired by Alexander Calder for his unabashed creativity, Magdalena Abakanowicz for her ingenuity to repurpose and courage to go big, Bette Saar to bring renewed life to the discarded, Graciela Iturbide for her stunning black and white photographs of rural Mexican women, and Rose Simpson for her courage.

ABN: What is the best advice you’ve received? 

“You’re different than the others, consider that a gift.” My dad told me this when I was about 5 years old. 

ABN :When you are not working, where can we find you?

I enjoy being outdoors, at the movies, golfing, socializing with others, going on road trips, exploring wherever I live, and going to museums, galleries, and art events. 

ABN: What have you done recently that enhanced you as an artist?

People ask and wonder where the idea for the Sheep Collection, or the Herd, came from. Why has she been compelled to create mythical creatures that take us to another realm? The sheep, the bulls, and the bison. So she began researching the prominence these animals have shared with various deities. Her research and curiosity took her to Mesopotamia. In doing so, it was discovered that many deities from this region, where the origin of life had beginnings, are where goddesses and gods had bulls, cows, and rams as their companions. This information inspired Vivienne to create a new cohesive body of work—three mythical heads, the guardians of the cosmos. Stay tuned! 

ABN: Any plans for 2025? Where will your creativity take you?

Vivienne has a well-thought-out plan for 2025. It includes exhibiting strategies, the intention to go deeper into her imagination with no boundaries set, no expectations, to explore ideas and play with concepts unabashedly. To continue to explore where ideas come from. To continue to play and have confidence in the outcome.  

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The post Meet the Artist: Cecilia Anastos appeared first on Art Business News.

Linda Mariano, Editor in Chief

North Carolina mixed media artist Alissa Van Atta finds emotion in paint, texture, composition, and color. She explains: “Art courses through me, shaping my identity and guiding my journey. Starting out as an abstract painter, I spent a great deal of time learning about texture, color and composition. Reintroducing the figure weaves context and narrative, intertwining abstraction and figurative elements. Inspired by vintage ads, my paintings embody humor while boldly confronting women’s rights regression and objectification.

“Through my art, I illuminate pressing issues while remaining deeply connected to my experiences. Creative expression offers solace, healing, and a platform to challenge societal expectations and advocate for women’s rights.”

Art Business News recently met with Van Atta to learn more about her career and journey in building her art business.

ABN: Let’s start at the beginning — tell us about how and when you decided to make art your career.

Van Atta: I’ve always done art, so it’s just as soon as I could pick up a crayon, it’s always been a part of me. I remember stressing in my high school years about “What am I going to do for the rest of my life?” and freaking out. Art has always been there for me, so made a deal with my dad that instead of art school, I would major in art and something else too. I ended up just doing art and got my BFA with a Painting and Art History focus. He always thought I should have added accounting on top of that. But it’s just how my brain works. I could only focus on one thing, so I would have to take all my other requirements in the summer  because all I wanted to do was art.

When I graduated my mom said, “You know you have to make money, right?” I got a little derailed into the world of retail. But art was always there — I knew I had talent and I just had to a take the leap and leave the world of retail. I really didn’t make the complete jump until my mom died, about eight years ago. It occurred to me, you only live once — if not now, when. That’s basically when I dove headfirst and decided “Let’s do this as a full-time thing!” Since then, it’s been a matter of figuring out what works, what doesn’t, and getting comfortable with calling myself a full-time artist.

ABN: I didn’t know you had a retail background. I’m sure it comes into play so many times and in so many different ways. You might not have the accounting degree your dad suggested, but you learned about balance sheets, profit & loss, pricing, and so much more from your retail management experience for sure.

Van Atta: Exactly. I was part of a designer brand. I wasn’t selling $35 khakis. I was selling $1,000 jackets and other pieces in that price range. So even in that world, the clientele was different, the approach was different. I see a lot of things mirrored in how I view who looks at my work. I sit back and just pick up little clues — and so far, that tactic has had good results.

ABN: Alissa, what is your work philosophy and how do you decide what to create? How does that work philosophy impact the art that you create?

Van Atta: Basically, my main philosophy is show up every day. So even if I’m not feeling like things are coming together, I go back to sketching and thinking up ideas. Or maybe doing the stuff that I hate doing, the behind the scenes things like managing inventory, managing the bank account. It doesn’t have to always be in the studio, but my frame of mind is always centered on get something done, at least feel like you’ve put in a day’s work. I basically like to do that in the beginning of the day, so I can go: “Whoosh, I’m done!” Then I can go from there.

Ideas are something that sticks with you. You’re not off the clock. It’s always marinating. Even just getting some ideas out that have been pestering. It’s just a matter of doing something that show you’ve accomplished something in some way, even if it’s just making notes. Just showing up every day. And I also like to challenge myself. If something didn’t happen or if it’s a timing technique, then that drives me to work on those things.

ABN: There are so many artists that do exactly what you’re saying — make a plan and stick with it every day. Whether it’s starting the day with the management things, like planning for fairs, creating invoices, reaching out, creating social media posts, all of those things that must be done to keep the business moving forward. Then moving on to creating. Or the other way around — whatever works best for each person. Your advice to work every day, getting to it, and being productive are keys to success.

What do you think was the best advice you’ve ever received and how have you used that?

Van Atta: During my senior seminar, I was very fortunate to have a mentor who was also my senior seminar instructor and my instructor for abstract art. I didn’t listen. I’m learning the hard way now and remembering his words. Showing up every day, working on developing yourself as an artist, and loosen up. Loosening up not only  my technique, because I used to be very precise, but also loosening up my frame of mind.  Basically, anything I’ve ever set out to do, the plan goes one way and I go another way. So no matter how much I think it should be this way, I’ve learned to loosen up my expectations and just go with the flow. I have to remind myself of that all the time. It’s not a failure if it didn’t work out. I learned something different.

ABN: Great perspective! Sometimes you have a perceived notion of what something should be, but maybe you haven’t explored everything it could be. And that’s really what you’re talking about. I think that there’s a learning in all of that. Absolutely. So what do you do to market yourself and your art?

Van Atta: Basically, being visible as possible as I can be, whether through my website or Instagram. Instagram is a beast — it’s harder now to get an audience. But it’s a place where people can find you and discover your art. It’s another little portfolio. The main thing with marketing, I’ve learned, is meeting people. So getting into art organizations, doing fairs. You never know who you’ll meet, who and a connection that will benefit you. It’s an opportunity to get to know a person one on one. Sometimes it’s the weirdest thing of who knows who and it ends up being a small world. Or “Yeah, I’m an artist” and things spark from there. But growing it organically is what I’ve been focused on because it’s the proven method of what’s gotten me sales, collectors, and a following.

ABN: At the art fairs, I notice that you are very engaged. You’re right there, you’re standing up, you’re very approachable. And usually when I walk by, you’re talking to somebody, whether it’s another artist, maybe it’s the exhibitor that’s next to you. But I think that that’s a really good point because you don’t ever know where you’ll find a great connection. Maybe they’re just visiting the fair, looking at art, and they have an experience with you. And six months from now, they’re contacting you and asking, “Do you still have that piece, or is there a piece like that one?” And you don’t ever know what all of those connections, how they might play out in a myriad of ways.

Just one more question. Any particular advice as an emerging artist that you would give an aspiring artist?

Van Atta: It’s tough. And oftentimes, you’re your own worst enemy. So my advice would be to surround yourself with people that genuinely want you to succeed. People that support you. And remind yourself that it won’t happen overnight. This is a marathon. So if you don’t do great one day at some event, it does not mean it’s over or you’re a complete failure. We all play mind tricks with ourselves. So it’s just reminding yourself to just show up every day. It’s all a learning experience and  keep moving forward.

ABN: Really great advice. It’s been terrific having a conversation with you. One of the reasons for your success is that if you are enjoying what you’re doing and you have a positive attitude. Sure, it can be scary. It’s your career, it’s your livelihood. But working it each day helps you meet the challenges.

Thank you so much. It was great getting to know a more about Alissa Van Atta, the artist.

The post Meet the Artist: Alissa Van Atta appeared first on Art Business News.

Recycling Plastic One Painting At A Time

Linda Mariano, Editor-in-Chief

Artist Pedjman Mohammadi’s collection is a breathtaking fusion of creativity and sustainability, transforming plastic waste into stunning abstract art. Each piece is meticulously crafted from recycled materials, merging eco-consciousness with aesthetic brilliance.

Pedjman’s artistic vision breathes new life into discarded plastics, turning them into unique, visually captivating artworks. His artwork offers a diverse array of colors, textures, and styles, ensuring there’s something to inspire every art enthusiast.

Art Business News recently met with Pedjman to learn more about his career and his amazing works of art.

ABN: Let’s start at the beginning — tell us a little bit about how and when you decided to make art your career.

Pedjman: I’ve been painting since 1995, but I started painting full-time just last September. Being a father of an 11-year-old, the future of the next generation is very important to me. My daughter is a very focused environmental individual:  she gathers plastic and tries to recycle just about anything. So this last September, I decided to team up with her and try to work as much as I can with recycled materials to create my art. And that’s how everything started. Then I connected with Redwood and Artexpo New York to create my first exhibition in April, and the rest, as they say, is history.

ABN: One of the most intriguing parts about your work is that you’re not just using environmentally correct products to create the work, but you’re recycling things and incorporating them into each mixed media piece of artwork — and in some very interesting and compelling ways. When it gets down to the day-to-day of creating, what is your work philosophy and how does that impact your work on a daily basis?

Pedjman: Let’s see. Part of my timeline was living in Japan, part was living in Vienna. Living in those two countries informed me how to pay close attention to nature, recognize art, and pay attention to the environment around me. And that is essentially who I was and who I am. Those two experiences in my earlier life are still a big influence on me today. And then, the rest is really trying to be an environmentally conscious individual. I try to recycle as much as I can. I do believe there is a bridge between creativity and sustainability, and I can form plastic and create art and deliver that to my audience.

ABN: And the pieces you create are definitely show stoppers, not only from a size perspective, but they are dramatic and compelling. Let’s switch topics just a bit and ask you to think about people that you’ve talked to, people that you know, or people that you’ve read about. What’s the best advice that you’ve ever gotten, and how has that impacted your success?

Pedjman: Best advice I received was really from Redwood Art Group. I decided it was important for me to come to an art fair and present myself. I wasn’t expecting anything out of that experience. I just wanted to know where I stood i respect to today’s art business and art culture. Really listening to the advice I got, everything that Eric told me about price point and how to deliver myself to the visitors at the fair really helped me. Listening about marketing piece and how to put my booth together and curate my artwork to make the best impression really helped me to showcase and position each piece for the audience. I would say the best advice I received was really from Redwood.

ABN: Well, thank you. Wow! I wasn’t expecting that. So what do you do to market yourself and your art?

Pedjman: I leverage Instagram daily. I share my work and my daily work process on Instagram. I try to get out there as much I can, join art events as much as I can, and go to art galleries as much as I can. I think seeing art and speaking to people helps to create connections and relationships.

 

ABN: Making connections is so important. Whether it’s being at art events, whatever they are, really being present and working it. When it’s a first time, like one of Redwood’s fairs or even getting your work in a gallery, it’s important to remember it’s also the first time the work is being seen by that audience. So you might not sell anything, but it’s the networking and creating connections that can lead to amazing outcomes. Those connections build one on the other — and that’s how you start to establish yourself with a base and as a career artist.

Thinking about that, what has been your greatest success in terms of building your career and your client base?

Pedjman: That’s sort of a challenging question because I’ve really only been in this full time for less than a year. My greatest success really started at Artexpo New York. Like I said, I didn’t have any expectations, just wanted to see where I stood. It was remembering the small things, like “Hey, stand up in front of your booth.” It was one of the things that really captured everybody’s attention and drew them toward me, and I was able to talk to every single person. There were so many conversations that opened doors in all different aspects. In the fair, I was able to sell three of my pieces out of ten that I presented. 

But then so much came after based on all of the connections that I gathered — I got commissions after commissions, two weeks, four weeks after. And it was a joy for me to be able to listen and execute on everything Redwood had advised me. And it worked. Even my Instagram account, I started with 250 or so followers when I was in Artexpo New York. today I have nearly 4,000!

All of these small things might be small, but it was a big, big victory for me as a beginner. And all of those are the things that really work. And I try to stick to those things, over and over.

 

 

ABN: What you’re really talking about is building blocks. It’s building a foundation, no matter what you’re building — you’re building a house, you’re building a career, you have to have the foundation, then you can stand on that foundation and it’s solid ground.

Just one more question. Any particular advice as an emerging artist that you would give an aspiring artist?

Pedjman: Well, I would say be honest with yourself and be consistent. Do what you’re doing day after day. Get out there, and build relationships. I think that’s the most important piece of the puzzle. And not only that, maintaining that relationship is very important. This means that whether you gather a phone number or an email address, reach out to those clients and individuals when you have events coming up. Enjoy the ride. Try not to stress and enjoy the experience, set the tone and set the mood. I think everything starts with the attitude — when the attitude is right and the attitude is out there it creates a positive vibe that captures attention. I think that’s very important. And I’ve experienced it first hand. So that would be my two cents.

ABN: You are so right! I think one of the things that has attracted your success is that if you are enjoying what you’re doing and you have a positive attitude. Sure, it can be scary. It’s your career, it’s your livelihood. It’s always going to be challenging. But I think you’re meeting the challenge. And congratulations.

And, Pedjman, if you don’t mind, we’ll love to check back with you in a year or so and see what’s happened then.

Pedjman: Absolutely, that would be great! Thank you so much!

The post Meet the Artist: Pedjman Mohammadi appeared first on Art Business News.

Q: Introduce yourself — who you are and what is your vision as an artist?

Q: What artist(s) inspire you?

Q: What is the best advice you’ve received?

Q: When you are not working, where can we find you?

Q: What does exhibiting at Art Santa Fe 2024 mean to you?

Art Santa Fe is incredibly important to me. It’s my first time in the southwestern United States sharing my work. Im out of my comfort zone. I have no established base here, no fans, yet grateful to be here. My plan over the past two years is to get out of my Florida comfort zone and start growing in other areas. Santa Fe was a perfect match. I’ve put a ton of heart into the Kress Collection Gallery.

You can find my art and journey on Instagram @mattkressart and website https://mattkress.art

The post Meet the Artist: Matt Kress, The Kress Collection Gallery appeared first on Art Business News.

Q: Introduce the gallery — who are you and what is the vision of your gallery for your artists? 

A: We are pleased to introduce James Bacchi Contemporary.  Celebrating forty years in the art business in New York, San Francisco and most recently Palm Springs. More than a gallery owner, James Bacchi is a curator, art consultant and collaborator. His notoriety in the art world and his continued success stems from his ability to fearlessly reinvent himself.  

 James’s vision for his latest gallery and for his outstanding roster of artists is to provide an inspired, intimate exhibition space and art consultancy where he can introduce these artists and their work to the worldwide audience of contemporary art collectors, architects and designers that converge at The Shops at Thirteen Forty Five in Palm Springs, California. 

Q: What is your background? 

A: My background incorporates many facets of the Art Business including public relations, curating exhibitions, owning galleries and corporate art consulting. Having the opportunity to delve into all these arenas has served me well Inside James Bacchi Contemporary.

Q: What is your work philosophy and how does that impact the gallery? 

A: “My work philosophy evolves around my solid relationships with the artists and collectors I work with, my art selection process, my integrity and the pure enjoyment derived from what I do. I love the art business,” says Bacchi. “Every work of art I represent, and exhibit is one I would want to include in my personal collection. I believe my passion for the work has the greatest impact on the success of James Bacchi Contemporary.”      

Q: What is your vision for the next year? Next 5 years? 

A: At 69 years young, my vision today focuses far more on the present and immediate future, unlike in the early stages of my career where I felt the importance of long-term goals and five-year plans. These days, I’m all about being fully committed with no commitment. Strange as it sounds, it offers tremendous freedom, satisfies my desire for short term results, and leaves me open to all the possibilities. 

For example, finally, after all these years in the business I recently enjoyed my first sold out exhibition with master printmaker, Eric Rewitzer. The show, MCM Monsters, not only sold out but presented me the opportunity to orchestrate five commissions with the artist for collectors. The exhibition generated tremendous media attention including NBC-TV. From planning the exhibition to delivering the last commissioned work took all of six months.  

Next year will feature a sequel to MCM Monsters opening in February 2025 in conjunction with Modernism Week in Palm Springs. Until then, I am curating Group Exhibitions and Pop Ups, spotlighting works by JBC represented artists. This allows me creativity and the opportunity to constantly rotate inventory and most importantly, place the work.  

Collaborators James Bacchi and Susaye Greene discussing their latest project, Meta Contemporary, over lunch at the Casa Del Mar Hotel in Santa Monica, CA. My vision also includes more collaborations. I am currently collaborating with artist, singer, songwriter, Susaye Greene, aka The Last Supreme, on Meta Contemporary.  This gallery/auction platform, located in the Metaverse, will feature events and exhibitions with an auction component designed to benefit various arts related organizations. We are beyond excited by this project. Please stay tuned.       

Q: What artist(s) inspire you? 

A: In addition to the artists I represent, I do have a bucket list of artists that inspire me.  Presently, they include Timothy Cummings, Donld Roller Wilson, Simen Yohan, Banksy, Yoshitomo Nara, and Anthony James.  I recently caught David Hockney’s Drawing From Life exhibition at the National Portrait Gallery in London. It was awe inspiring! 

Q: What is the best advice you’ve received? 

A: The best advice I received came from a colleague, art collector, and dear friend.  Years ago, I recall discussing some aspects of my business I wasn’t pleased with.  Her response, “If it’s not working, change it!”  That advise has very much become my life mantra. Thank you, Paula Davidsen.    

Q: When you are not working, where can we find you?   

A: The only place you can count on finding me is in the pool every morning at 7:00am.  Aside from that, anywhere that offers great art, live music, theater, dance, or good Chinese food — I’m there! 

See more at www.jamesbacchicontemporary.com 

Photos all courtesy of James Bacchi Contemporary. 

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Q: Introduce yourself — who you are and what your vision as an artist is? What is your background?

A: A retired architect residing in New Mexico for most of the last 50 years, I am living a lifelong calling, to be a fine artist. I believe we cannot live without art.  Whether it is music, film, dance, or visual art, it feeds our soul. I strive to make art that reaches, touches, and connects us to ourselves and others. I have chosen the language of abstract art, a language like no other, with no dictionary to translate it but is open to each individual’s imagination and interpretation. Unlike architecture, there are no constraints. Total freedom is a refreshing change.

My background significantly influences my art. I was born and raised in Pittsburgh, PA, a place with honest, hardworking people. My dream, even as a young child, was to become an architect. With encouragement from my family, I attended Franklin and Marshall College where I studied art history and perfected studio skills that prepared me to pursue an M Arch from the University of New Mexico. I became licensed and through a very successful and rewarding, 40-year architectural practice, I was able to design a diverse portfolio of projects and achieve a fellowship in the American Institute of Architects. In 2020, I retired and now realizing another dream, to be a fine artist.

Q: What is your work philosophy and how does that impact your work?

A: My architectural training and practice taught me a way of thinking. I value simplicity. I’m fascinated by geometry, strong shape and form. My focus is composition. I’m not a fan of making “wallpaper” by creating amorphous or repetitive patterns. I believe, like a good building considers and organizes both the positive (interior) and negative (exterior) space, a good painting does the same. Regarding color and contrast, the high desert environment of the southwest inspired and awakened my creative sensibilities. What can be more visually powerful than an orange sky with purple clouds? Or the lush green, life-filled forest of the Rio Grande moving through rocky earthen, parched mountains? Those contrasts and others are compelling.

Q: What artist(s) inspire you?

A: I am most inspired by Richard Diebenkorn, a genius in composition and color. Never constrained by formalistic rules, he used the entire canvas in unpredictable ways. He was a master of creating strong shapes and forms. He was not afraid to use any color adjacent to any other. His use of line created movement while also contrasting simple planes of color. Like many great artists, he was a rule-breaker for his time. We know he challenged the status quo at the University of New Mexico when he was there in 1950. No adobes adorned with chiles for him. That inspires me.

I’m inspired by many other artists but most notably, the dramatic work of JMW Turner, the color and techniques of Cezanne, Monet and Matisse, and the boldness and simplicity of Franz Kline. Lately, I am enamored with the spontaneity of contemporary artist, David Mankin.

Q: What is the best advice you’ve received?

A: My architectural training taught me to always say, “What if” never relying on one idea. But the best advice that I struggle to comply with daily tells me to not overthink, to follow my own instincts, and to not be afraid to make an ugly painting. Mistakes are opportunities.

Q: When you are not working, where can we find you?

A: Residing in Albuquerque, you can find me with my family and friends enjoying New Mexico’s scenery and perfect weather. Or traveling to see and experience new places that recharge me.

Q: What does exhibiting at Art Santa Fe 2024 mean to you?

A: I’ve been painting in earnest now for about 5 years. Although I have successfully shown my work locally, I’m exhibiting in Art Santa Fe to finally test the waters with a broader audience. The truth is, that artists are constantly looking for validation. I hope I get it here.

The post Art Santa Fe 2024 Spotlight Artist Recipient: Bill Sabatini appeared first on Art Business News.

The post Art Santa Fe 2024 Spotlight Artist: Elizabeth Frank appeared first on Art Business News.

Q: Introduce yourself – who you are and what your vision as an artist is? What is your background?

A: More than a printmaker, or painter, I think of myself as an image maker. My background is in fashion design and pattern making. I worked in the ‘rag trade’ designing clothing and traveling all over the third world to see how well these designs were put together.

Q: What is your work philosophy and how does that impact your work?

A: I enjoy working in the studio on various media including printmaking and painting as well as collage.  I am drawn to historic female characters; strong women and what I imagine that they would wear.

I create, I do not quantify or measure time, I work until the artwork speaks to me and tells me it is complete. It’s a joyful calling. I know that my audience is the world’s smallest and that I am not attempting a mass-market appeal. I listen to my imagination and I try to stay on a flow that avoids tributaries and tangents. What I ask myself each time I come near completion of an artwork is: is this piece remarkable? That’s how I measure.

Q: What artist(s) inspire you?

A: I am inspired by many of the modernists, especially the Santa Fe and Taos modernists of the early 20^th century. Also, I love to look at ancient manuscripts and illuminations for pattern, and composition. The Ukiyo-e Japanese woodcut print artists are always a delight to look at and I am drawn to contemporary public-art artists such as Shepard Fairey and emerging black artists such as Delita Martin and Bisa Butler.

Q: What is the best advice you’ve received?

A: The best advice I’ve received is from a professor in my Masters Degree program who told me to see more and paint less. On a more business-of-art direction I listen to Seth Godin, Akimbo podcast and find value in his philosophy about the world’s smallest audience and being authentic and remarkable with my work.

Q: What does exhibiting at Art Santa Fe 2024 mean to you?

A: Exhibiting at Art Santa Fe means a lot to me in that it is an opportunity to show with an Event Company that has great experience and a track record of putting on well-marketed and well-designed shows of high-caliber artists. I am hoping to find a small audience of galleries and collectors who are interested in purchasing and representing my artwork. 

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