Artist Elan Cadiz Reflects on Community and Considering Utopias

ANTE mag is proud to feature our first artist interview as a result of our open call, “Alchemy”, curated by Independent Curator and Founder, Wedge Studio, Douglas Turner. Artist Elan Cadiz shares her responses to our questions in this insightful and wide-ranging interview, in which she re-examines her practice in the past year+ in the wake of Covid-19’s effects on a reeling art world, means of examining space for diversity and humanity in the arts landscape and a reflection on enduring in the face of adversity. We hope you feel inspired by her reflections below, and that you spend some time to appreciate her precise and insightful practice visible at her website: https://www.elancadiz.com/

cover image: Father and Son, from “Scaffold” series by Elan Cadiz. Image courtesy the artist.

ANTE mag. Given our current ongoing Covid-19 pandemic, we paid careful attention to your project “Scaffold: Equity of Treatment” which highlights how equitable communities allow us to draw from a wellspring of support, and to then harness that self-love in order to serve our role in society. Can you tell us how this series began and how you choose subjects for your portraits in this series?

Elan Cadiz. Like most life happenings, there were several things occurring at once when Covid caused quarantine last year. I had just started a new job with a not for profit called Foster Pride and was teaching weekly classes at a Foster Care space in the Bronx. I was also asked to submit to an open call for an exhibition entitled “Brooklyn Utopias”, and simultaneously police violence towards Black civilians was escalating and protests were brewing. All of these things made me rely heavily on my spiritual beliefs. I meditated and in my meditation, I decided the best way of dealing with the unknown was to surrender and focus on what I had control over. I needed to resolve my frustration with the word “Utopia”. I felt it implied that unity can only be achieved through fantasy. This frustrated me because I believe the only way we can truly take care of our planet is through peace amongst its inhabitants. For me “Utopia” became a kind of prognosis that could be realized in some form through individualized focus that meditated on an individual’s mental, physical and spiritual well-being through different forms of equitable support. This individual self-care became “the scaffold”: a term used in education to imply the support any one individual student needed to succeed. But I was missing the social capital to invest. I realized I needed subjects to represent humanity and it’s diversity. I also wanted to highlight the many people that can exist in (and impact – Ed.’s) a person’s lifetime. That’s when I started to contact people that I worked with, exhibited with, hung out with, met through social media, etc. I would send them an email, DM, text, call and explain the project and request photos of themselves that theyliked/loved or reminded them of a good memory. I wanted as much of the body visible as possible so that the scaffold can support their full form. Headshots felt more like a memorial. We are so much more than a pretty picture. From a museum security guard that paints curvaceous bodies to a vogue dancer from the Bronx, my collection of subjects became a visual representation of diverse social capital and why equity was an important component. With so many differences it was very clear that fairness within the opportunities and support given had to be configured to fit the needs of the individual.

ANTE mag. Tell us about your recent shows: where have you been exhibiting work in 2020-21? How have these exhibits helped you further develop your artistic practice during this time?

EC. Last year was quite an adventure in building and understanding the Scaffold Project. I was able to find and create opportunities for myself and as the project developed, for others. Like I had mentioned earlier, I had applied to the “Brooklyn Utopias” open call and curator Katherine Gressel chose the Scaffold Project to be a part of the exhibition. I later asked Katherine to participate in the Scaffold Project, and she was kind enough to say yes. “Brooklyn Utopias: 2020” was exhibited at the Old Stone House in Washington Park, Brooklyn, New York during the summer.Then in the fall, curator, former collaborator and Scaffold Project participant, Souleo, contacted me about an opportunity to exhibit the Scaffold Project in Styling: Black Expression, Rebellion and Joy Through Fashion at Nordstrom, NYC flagship store. This was exciting because it was not a traditional exhibition space: it highlighted the individual fashion and use of fashion to express one’s individuality and it connected Scaffold Project participants Ricky Jones and Souleo. Ricky and his stylish colorful wigs were also exhibited.

During this time I had also and accidentally became friends with (the Harlem-based curator.-Ed.s) Connie Lee. A mutual friend of ours had posted on Instagram a graffiti cleanup on 125th Street and Connie was in charge of the effort. I was so excited to participate because I had tried to clean the artwork on my own with regular cleaning materials and was unsuccessful. I was very excited to see if we would be able to clean the graffiti off the public artworks.The day was a success and we (several women and a couple of men) were able to remove all of the graffiti with brilliant cleaning wipes that Connie supplied us with. I posted our victory on social media and followed Connie in case of any other cleanups. As time moved on we realized we knew some of the same people, lived in Harlem, loved plants and art and became friends. I asked Connie to participate in the Scaffold Project and she agreed and as time went on I realized her connection to the arts in Harlem. She so kindly asked me to participate in the “Form, Paper, Scissors” exhibit at her Living with Art Salon. That was the first time a portion of the Scaffold: Equity of Treatment project was exhibited.

2021 began very strong for me and I was able to have two solo exhibitions of the Scaffold Project. Firstly at Adelphi University, curated by Jonathan Duff, and secondly at the Visual Arts Center of New Jersey curated by Mary Birmingham. I was also so fortunate to be a part of 4 group exhibitions in 2021. Altered Grain, at the Stay Home Gallery in Paris, TNLove This Time, The Myrtle Avenue Brooklyn Partnership/ FOKUS, NYC& Giving Light: An Art Antidote to Gun Violence, Bronx Art Space,

I was introduced to the Stay Home Gallery, and Kaylan Buteyn’s Artist/Mother podcast through friend, artist, mother and Scaffold Project participant, Anna Ogier – Bloomer. That connection gave me formal experience as an Artist-mother-mentor, which was an enjoyable and enlightened experience that I plan to revisit and develop. I have so many stories of ways my appreciation for those around me brought positive experiences into my life. Through all of this I’ve learned the importance of checking in with friends and acquaintances, follow-up, sharing what I’m working on, sharing ideas, sharing opportunities and practicing thankfulness.

“Autumn” The Scaffold Project by Elan Cadiz. Courtesy the artist.

ANTE mag. You have created artwork for shows at the Studio Museum in Harlem, NY; El Museo del Barrio in Harlem, NY; Art in Flux, Harlem, NY; and the Mount Vernon Hotel Museum in Mt Vernon, NY – among other sites. Can you share how you approach working with a site and how you translate concepts into site-specific work?

EC. I was commissioned by the Studio Museum in Harlem to create bouquets of flowers using museum paraphernalia for the First Lady’s luncheon with host Michelle Obama in 2013. I wanted to clarify that, because I did not exhibit artworks in the Studio Museum as an artist. I was more like an artist consultant hired for a very specific event. I exhibited at El Museo del Barrio as part of Uptown: Nasty Women/Bad Hombres exhibition in 2017 but was also commissioned to design/decorate drinking glasses as part of a raffle prize for their 2017 Gala. In all of the projects that I’ve taken on it’s important that the first connection is community. Most if not all of the work I’ve done touches on where I live & where I’m from, which is why I use the word domestic in my artist statement. I’m referring to all aspects of the word. I always look for the familiar and then allow that understanding space to define or redefine itself more thoroughly through observation and engagement. Spending time with collaborators and the spaces they/we occupy helps me to understand my task fully. I also almost always use whatI have easy access to. My goal is to utilize whatever a space has in abundance and like the Children’s book, Jacob Had A Little Overcoat by Simms Taback, make something out of nothing. Only nothing is the abundance of something that had been deemed “nothing” or overlooked.

ANTE mag. You note in your artist statement that you see yourself as “ a cultural interpreter and visual documentarian.” How did this become a key feature of your artistic practice and in what ways does it determine how you approach a new body of work?

EC. It wasn’t until quarantine and my separation from the continuous hustle and survival in New York City that I was able to understand what was important to me and my artistic practice.

In reflection, I realized that I existed in many different spaces. For example, I see myself as an artist but I’ve also been an art educator for 20 years, a mother for 18 years, a wife for 17 years and an ex-wife for 3 years. I was born and raised in NYC as well as my parents but their parents migrated here. My father’s family is from Puerto Rico and my mother’s side from Georgia and other Southern states. In 2016 when I got my DNA evaluated I learned I was connected to so many parts of the world. All of these things made me realize that the purpose of my work was to always teach what I learned and to make my art accessible for anyone to engage. As a Black, Latinx woman with a very mixed heritage, I was born an oppressed person with particular freedoms. In understanding my environment and the people in my environment, I hope to maximize my freedoms and liberate others through Visual understanding and disclosure.

“Spitz Pharoah” The Scaffold Project by Elan Cadiz. Courtesy the artist.

ANTE mag. You frequently up-cycle or re-use materials in your project – for example, the Shizen Pastel Paper you incorporate in your Scaffold series is handmade in India from recycled paper, while the Harlem Wanishi Sukkah you produced in 2019 utilized community donations. How does this aspect of using sustainable materials inform your work?

EC. Sustainable materials are familiar. And as I mentioned in question three I usually begin with the familiar because it’s what I know. I think there is something that can be understood in all the work I do, be it the use of home as an archetype, human specific item/object(s) that can be found inside or outside a home, or a photograph of my changing community and it’s people in different stages of its existence … sustainable materials add a universal understanding and extended narrative to my pre-existing intention, widening its significance. Besides I’m doing my best to be a respectful and responsible Earthling.

ANTE mag. Finally, what projects do you have coming up that you can share with us?

EC. My biggest news is the culmination exhibition of SCAFFOLD: Equity of Treatment project Over 150 Scaffold Project portraits on view at the Royal Kente Gallery in Harlem, NYC from May 2nd – May 30th. I am beyond excited to have all the portraits in one space and in my community.It’s a dream come true for me. I also plan to slowly create a book that can represent its intention, as well as the participants. The goal is that the book be a shared authorship between all participants that want to contribute to the book. That will take a year or two to develop. As for the exhibition, it will be the last time all of the portraits will be together because afterward depending if any of them sell that money will be split with the gallery, the participant, and me and whatever is not sold will be given as a gift to the participant in the portrait.

Not everyone wants their portraits, so for those who don’t I’ll be keeping them but this will be an agreement between me and the participant and the first and last time to see all of them in a space together. For me that’s very exciting because although I love the project is quite exhausting on my body and my mind. I’m looking forward to letting it go and allowing it room to develop into whatever it needs to be. And whatever it becomes I hope it supports the importance of people, social capital and how together we will always be stronger.

The Essence of Making: An Interview with Designer/Architect Paul Mok

ANTE – Thanks, Paul, for speaking with us today! Your practice spans Architecture, Design and Art; yet, you’ve noted in past interviews that you work across different disciplines in order to best translate a “concept” into reality. Can you explain more about this philosophy of working to adapt concepts into the real world, and how that has manifested both in artistic projects and commercial projects with clients? 

Paul Mok – There are two tricky terms here: concept and disciplines“Concept” is tricky because it usually means a “clear idea”, and that is precisely what I have gradually walked away from in the past few years as a designer. I was trained to derive iterations of design from a clear concept very early on in my career. However, the more I worked in the design field, the more I have come to realize that concepts are too often just alibis to rhetorically justify certain irrational, personal design decisions. I find the irrationality productive and even necessary, but not the alibis. 

To unlearn anything would be a years-long process. I started rejecting my acquired design method, subconsciously at first, then consciously, gradually replacing the void that used to be the “concept” with collections of seemingly unrelated elements – short writings, aimless strokes on paper, gestural forms made of clay and a few other projects – some art installations, some small commercial projects, and some academic works – have been delivered through this process. So, in a way, the concept I am adopting now is precisely the lack of it [the lack of any defined concept]. It is not about bringing a concept into reality. It is about letting reality – a specific set of circumstances – be translated into and – more importantly – addressed through the design process. And because of that, I am skeptical of the confinements implied by the notion of “disciplines”. Architecture, design and art are different only in a practical, circumstantial sense, I think, not in the essence. 

New York-based Hong Kong architect/designer/artist Paul Mok

Installation image at Gallery GAIA: “The Story of Mundane” a solo exhibition by Paul Mok

 

ANTE –  The value of the projects you’ve worked on is not only respected by clients and your peers, it is also shown by the awards they have received. In 2014, you worked on a project that won the AIA’s Honor Award for Interior – just as you entered Harvard for your Master’s degree in Architecture. Can you tell us about this project? Can you also discuss how this experience informed the beginning of your studies at Harvard?

PM – That [project] was a dining hall renovation that I worked on during my two years as a designer at Index Architecture Ltd.: a small architectural office in Hong Kong led by an AIA architect. We were given an existing space with lots of pipes and ducts that were to remain along the walls, and we proposed to conceal them with some curved panels made of weaved synthetic rattan. We also embedded lighting fixtures and storage spaces within those panels. The project won the AIA International Regional Award, I think, because we managed to resolve almost all the given site conditions and programing requirements with a minimal, singular design gesture. That was one of the last projects I worked on in the office before moving on to grad-school. 

In those 2 years of practicing in Hong Kong, I was working full-time in the architecture office and, on the side, working on a house renovation as a personal project, along with a monastery renovation and an idea competition (with Dennis Chau and Florence Lam, which we won third place) all at the same time. My “normal” work day would begin at 9am and end at around 3-4am. I thought the more I worked, the clearer my vision as a designer would be. I recently saw an interview with [recently deceased artist] Ulay in which he described how he tattooed and cut his own skin off as an art project but after all that effort, he said, “it still didn’t deliver the answer”. That was how I felt by the end of the second year practicing in Hong Kong.

Entering grad school gave me the time and space that I didn’t know I needed to explore the more abstract, essential, and fundamental side of design. Instead of what and how to design, I needed to know why I design. 

 

ANTE -Your professionalism and dedication to your studies has earned you multiple scholarships and Dean’s List mentions, both during your architecture studies at the University of Hong Kong, which honored you with a prestigious study abroad exchange semester at Princeton University, and during your Master’s in Architecture at the Harvard Graduate School of Design. Can you talk to us a bit about your dedication to your academic development: what were some of your favorite classes and how have they translated to success as a professional architectural designer?

PM – I was drawn to both the theoretical and the making aspects of design education very early on. At the Harvard GSD, I took an option studio with Ken Smith, a New York-based landscape architect. It was one of the first studios in which I explored a design process driven primarily by the making process. I rhetorically titled the project “Project Noctambulism”, hinting on the idea of taking actions subconsciously. In the same semester, I worked on the Komorebi Pavilion with Professor Mark Mulligan, Japanese engineer Jun Sato, and a team of schoolmates at the GSD. It was a plexiglass pavilion that was weaved together in a somewhat ad-hoc manner. 

Both experiences had a significant impact in reinforcing my confidence in the essence of making, which later became a method to address abstract issues, and gradually becoming a core design philosophy.

Project Noctambulism, material study (below) and final outcome (above,) Images courtesy Paul Mok

Komorebi Pavilion, material study (below) and Komorebi Pavilion (above,) Images courtesy of the Harvard Graduate School of Design. Images courtesy Paul Mok.

ANTE – Can you walk us through your Harvard Graduate thesis project and the concept of “play” both as it relates to your studies and your professional projects?

PM – I titled the thesis “To Play”. In developmental psychology, “playing” could mean negotiating the perception of reality through the act of creating. 

I began the thesis by asking “how is reality perceived?” I soon came across a demolished social housing, and I found it a perfect architectural anchor point – social housing is the most objective architectural typology, but its demolition made it a highly subjective event. 

Through a series of drawings, architecture models and conversations, I reacted to a found Youtube video of the housing recorded by a former tenant of the housing who went back to record it before its eventual demolition. The final outcome was an absurd speculative proposal for a student-housing in LA based on the idiosyncratic personality I deduced from the 12-minute video. Looking back, it wasn’t a thesis that set out to resolve a specific problem, but it demonstrates a crucial self-awareness as a designer that opened up the design process to intuition, personal realities, subconsciousness, and the notion of craftsmanship. And it was from a very similar process that I have designed the installations <A Fountain Head> and <You Killed A Kiwi – A Situation Comedy For Those With Wounded Egoes>, and the two displays – <Gross Grows> and <Out Of Thick Air> – that I made for lifestyle brand WORM NY.

Above and below, alternate images from Thesis: To Play, Images courtesy Paul Mok.

“A Fountain Head”, Image courtesy Paul Mok.

You Killed a Kiwi – A Situation Comedy For Those With Wounded Egos, Image courtesy Paul Mok.

“Out of Thick Air”, Image courtesy Paul Mok

“Gross Grows”, Image courtesy of Paul Mok

 

ANTE – Since graduating Harvard Graduate School of Design in 2018, you have worked as a designer at nARCHITECTS PLLC in New York: this experience comes after you have worked at both Michael Maltzan Architecture in LA, and PARA Project in New York. Can you walk us through some of the key projects you have contributed to during each of these roles in your career?

PM – At Michael Maltzan Architecture, I worked on the schematic design of a student dormitory for Art Center College of Design. At PARA Project, I worked on the schematic design of an artist studio extension in New York.

I have been working as a designer at nARCHITECTS for almost 2 years now. The first project I worked on was a 5-story warehouse renovation project commissioned by the EDC. We were tasked to convert the 200,000-square-feet existing building into a new Made-In-NY campus for the garment industry in New York. I worked through the Schematic Design phase, the Design Development phase, as well as producing the final construction documents. Currently, I am working on the renovation of Ciszek Hall – a dormitory for the Jesuit men-in-formation in the Bronx. 

 

ANTE – Can you walk us through a few recent projects that have demonstrated your achievement and engagement as a leading architect/designer in your field? 

PM – Aside from all the professional and conceptual projects I previously mentioned, I have been working on a school design with Joe Qiu, my former classmate at the GSD, since 2015. It is a primary school design that pioneers small-class-teaching in rural China. 

The decades-long implementation of one-child policy and rigorous rural-urban migration have led to a significant reduction of students in rural China. Small-class-teaching, as an alternative model of child education, implies a reduction in teacher-student ratio and increasing opportunity of group activities among students.

In terms of layout, we proposed to break down the typical teacher office into smaller “satellite” offices, and pair one with every two classrooms to form the primary module for space planning. We further proposed to reduce classroom sizes from 45 students per class (typical in the city, as recommended by the codes) to 36. The additional floor areas are given to the semi-outdoor “pocket” spaces, distributed along the corridors, where inter-class activities could take place.

The project is near completion and was scheduled to open in September 2020. Due to the Covid-19 pandemic, however, the opening date will very likely be delayed.

Erdu Primary School, Image courtesy Paul Mok

ANTE – How has building your architectural career in the US contributed to growth in your professional practice?

PM – It’s been almost six years since I moved to the States. So far I find the US – and particularly New York City – a productive context for both my professional and conceptual practice.

I have worked with quite a few collaborators and designers here. When I first moved to the city, for example, I met Isabella Bhoan, the founder of ILF Landscape. Coming from similar professional backgrounds, we saw how each of our specific interests could lead to meaningful collaboration. We worked together on the project Outside In – a speculative design proposal for Château de la Mothe-Chandeniers – before she relocated her practice to London in the end of 2019. 

It is also a city where I could find the audience to have productive conversations about my conceptual interests. I have exhibited my works periodically in various venues. The most recent exhibition – The Study on Mundane – is currently on display at Gallery GAIA.

Above and below, Views: “Outside In”, Images courtesy Paul Mok

Transcending Reality: An Interview with Artist Marion Grant

Artist Marion Grant is a lifelong creative innovator, with a career spanning fine arts, graphic art and textile design. Her work strongly aligns itself with spiritual growth, and her strong use of color and lyrical compositions follow the precedent of other spiritual artists such as Wassily Kandinsky and Anselm Kiefer. For Grant, however, spiritual development and transcendence serve as key attributes in her art-making. Her focus as a fine artist distinctly embraces self-empowerment. Combining a decades-long artistic practice keenly melding color field theory and harmoniously blending distinct visual elements, Grant’s work continues to speak on a personal level to her collectors, peers and all who encounter her works.

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Grant, Marion. Blue Dragonfly (2018) 16″x 15″ alternative media on handmade transparent acrylic skin, image courtesy the artist.

ANTE. You work in a very multi-disciplinary style, from digital art to fabric to mixed media. What originally encouraged you to develop your talents as an artist across different mediums? How has your practice evolved?
 
MG. I feel like all my life experiences coalesce into how I approach art-making. After studying Fine Arts at the California College of the Arts in Oakland, I got my dream job working for the artist Frances Butler who was a huge idol of mine. Working with her, I was responsible for silk-screening fine art textiles. Butler was truly an influential artist for me.
Eventually I returned to New York to pursue a career in the textile industry which was headquartered there. I attended classes at Parsons to learn some specific skills for the industry, eventually going on to work professionally in the textile industry for the following twenty years.
 
While I worked in the textile industry full time, I continued developing my career as a fine artist. During this time I was creating large scale multi-media paintings which involved silk-screening, chemical patinas, assemblage and painting. I sold artwork to corporations such as Pfizer and Signet Bank.  And I was also silk-screening on fabric, making award-winning, one-of-a-kind tableware.
I see my process evolving, with every stage leading forward to something new. In this way, my process acts like an open continuum. I don’t see myself as the type of artist who works exclusively in one medium: in fact, after working in the textile industry I transitioned to work as a graphic designer using contemporary technologies to create digital designs for marketing materials in the dance world. Through this evolution, I realized I’m the kind of artist who likes to explore and discover new things. I like applying an interdisciplinary approach to art-making, uniting the corporeal, metaphysical and psychological. I tend to experiment with unique elements and alternative processes, particularly if it’s something that hasn’t been done before. Once I innovate, I’m then ready to go on and explore what’s waiting to be uncovered. I just don’t like to repeat things because my impetus is to explore the unknown. My work exists at the boundaries of past tradition and new technology. 
ANTE. Your work draws from a deep, richly nuanced understanding of color combinations and color theory. How do you balance colors in your work? How do you see color as a key factor in how your artwork is experienced? 
MG. When I attended art school, color theory was rooted in a scientific approach. I recall choosing not to enroll in color theory classes because my approach to color is purely intuitive. I studied enough to understand complementary colors and the color wheel, and from there I was able to instinctively grasp color combinations.
After working in the fine arts industry, I transitioned to become a designer in the garment industry. There I developed my skill set and realized I excelled at selecting colors for fabrics. Eventually I transitioned to working in home furnishings as a colorist. I was in charge of painting several different color combinations in gouache paint to define different fabric “looks”, then going to the textile mills to oversee the printing of the selected color combinations. This was a very specific job which required a keen understanding in learning how to balance color. The colors that live with you in your home set a mood and reflect your taste, making color a key element affecting sales in this field. 
Great color combinations speak to people. They want to live with furnishings because the colors they’ve selected make them feel good and reflect their personality. I feel like color is experienced on a visceral level and can evoke certain emotions. I wonder in some sense if color evokes emotions similar to how music does, maybe on a subconscious level? It’s my hope that throughout my career in home furnishings that I helped set a tone of comfort and joy in a home.

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Grant, Marion. Primordial Space (2014) 40″x40″
image courtesy the artist.

Through my spiritual development, I have learned how colors have profound spiritual implications and can greatly effect our vibrations and how others perceive us. Each chakra is represented by a color, and it’s helpful to have some understanding of energies and the colors representing them. For example, blue indigo is affiliated with an increase in peace, tranquility, and devotion. It is symbolic of the inner mind, intuition and the vast cosmic consciousness. It is also the color of the third eye chakra. To increase clarity of thought and intuition, it helps to meditate with indigo. Interestingly enough, I see my artwork innately incorporates some of these color meanings. One example is my fine art print Primordial Space”, which is about meditating in a vast cosmic consciousness – an investigation of both inner and outer space.

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Grant, Marion. Indigo Sky (2017) 22″x18″
alternative media on handmade translucent acrylic skin, image courtesy the artist.

ANTE. Can you walk us through how you approached your acrylic “skins” series found on your website under “Alternative Media”? When did this process enter your artistic practice, and how is it evolving over time?
MG. I began work on the acrylic skin series about six years ago. When I left the textile industry, I returned to Parsons in 1999 to take classes in new computer programs specific to design in order to build a wider skill set. Through these experiences, I began making art on the computer. My style of digital art involved combining portions of my previous artistic processes. This included painting, silk-screening and various chemical processes and patinas. After working and developing my digital art, I wanted to switch gears and to experience working with my hands again. I wanted more than just a flat surface in my artwork.
Around six years ago when this series began, I discovered two things simultaneously: first, was the book Digital Art Studio which was published in 2004 outlining how three artists combined digital art with traditional art materials. Secondly, I encountered the work of Catherine Steinmann on view at the Tibet House in New York. I saw her show “Vanishing Tibet” with artist Danny Conant. They were combining digital and traditional processes in photography to create mixed media artworks. I was very inspired when I encountered these works, which were printed on traditional handcrafted paper. I was so excited because I realized this was exactly what I wanted to do, and the spirituality present in the work also spoke to me. 
I subsequently discovered Mary Taylor’s work. Taylor was an assistant to a co-author of Digital Art Studio. I took Taylor’s class on working with digital and traditional materials and this launched me into experimenting with digital art and combining it with analog processes. This mainly resulted in using acrylic materials as I don’t like to use anything with chemicals or solvents if it can be avoided. I also happened to meet Catherine Steinmann in this class. We struck up a friendship, and I’m happy to have a peer to share this experimental approach to unusual processes and techniques with.
I started to develop my own process as a combination of digital art and handmade surface details. The process is labor-intensive, and many things can go wrong along the way, but it is exciting in its unpredictability. As a result, this process is continually changing and evolving. Putting the handmade surfaces through a printer is intimidating, as the sticky quality of the acrylic surface can ruin the extremely expensive printer I have to use in this process. These skins also possess a raw quality that in a sense makes them feel alive. They don’t have a stiffness to them, or feel overly polished: instead, they feel organic. This process is aided by layering iridescent paints and hand-embellishments with digital designs in between the different layers. 

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Grant, Marion. Mother and Child (2013) 26×18″
alternative media on handmade acrylic skin, image courtesy the artist.

ANTE. Admirers of your work often appreciate its spiritual and soothing effect. What subject matter and concepts are you investigating in your work? Is it meant to be spiritual, and if so, how do you see this affecting your audience?
MG. My art is intrinsically connected to my spiritual identity. I’ve devoted my life to spirituality, creativity and transformation. Making art is my life’s purpose and serves as a visual meditation for me. I mindfully strive to create works that are uplifting, transformative and healing for the viewer.  My work introduces harmony and a sense of compassion to a wider audience, and my artistic practice reflects my spiritual development and vice versa.
I’ve been drawn to and inspired by Buddhist and Hindu imagery because it is so beautiful and soothing. That has been a big source of inspiration, especially for the prints on display in the Fine Art Prints” Section of my website. I have met those who encountered statues of the Buddha, or viewed representations of supernatural deities, who reported feeling a strong, energetic presence. Through the years many people have recounted these transcendental experiences to me. I’ve been lucky enough to be a part of this phenomenon: once, I met a viewer of my work who described a powerful experience they had while viewing my fine art print at a Buddhist retreat. I felt overjoyed and humbled to be a part of this transformation in some small way. 
The series I’m currently working on is centered around the dragonfly, which serves as my spirit guide. I serendipitously discovered a dragonfly on the door outside of my building in Manhattan in May. This was a very unusual circumstance as Spring is not dragonfly season, and dragonflies are also not commonly found in urban spaces. The dragonfly is revered as a symbol for transformation and empowerment. It embodies creativity and light: reflecting the sun and bringing us out of illusion. Dragonflies encourage us to apply creativity and imagination to transform our lives and discover ourselves in new ways. The dragonfly appeared at a significant time in my life, and I appreciate its meaning and message for me. I hope that others can connect to uplifting messages that the dragonfly brings as well. 
While I don’t feel that people have to connect spiritually to my work, I do hope that my work positively impacts the viewer regardless of their own philosophy. I hope it enriches and uplifts others in their life’s journey.

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Grant, Marion. Thousand Petals Gray (2009) 45″x43″, image courtesy the artist.

ANTE. You often incorporate nature and fabric patterns into your work. Do you see these motifs as contrasting or complementing one another? How do you create an interaction between the two throughout your practice?
MG. Contrast is a key element in my work. As long as I can remember, I’ve always combined geometric patterns with organic ones. This balance of subject matter persists throughout my practice, from painting to  collage and throughout my digital work. I see both contrasting and complementary elements at play in my compositions. For example, in my work “Blue Dragonfly the architectural draftsmanship in the background of the work juxtaposes with the delicate anatomy of a dragonfly’s wing. 
In the series Illuminated Miniatures on my website, the contrast lies between the organic, hand-painted watercolors and the textile patterns which are then overlaid in Photoshop. That series elicits a sense of being worn away: of layers being pulled apart and deteriorating as these contrasting elements are combined. In some of my works, iridescent paints between each layer unites the different overlapping layers of natural and man-made patterns. I often incorporate minimal elements, such as flat gray lines, that then create a sense of geometric contrast with the organic elements in the composition. Dorothy Krause, co-author of Digital Art Studio, unwittingly described my work when she wrote that the best digital art “combines the humblest of materials… with the latest in technology to evoke the past and herald the future.” It is this union of opposites, ranging from old to new, from geometric to organic, that creates transformation. 

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Grant, Marion. detail image, Pink Brocade I. (2016) 10″x10″
transparent acrylic skin on wood panel, image courtesy the artist.

 

ANTE. You often layer objects and concepts in your work, both physically and metaphorically. What importance do you ascribe to layering in your practice as a whole? Do you see this as crucial to your creative process, why or why not?
MG. Layering is the most crucial element in my artistic practice. It acts as a key factor in my artistic expression, whether using computer programs to make artwork or creating work traditionally by hand. Layering allows me to combine different elements which may otherwise be disjointed, but when separated and re-arranged, allow a sense of complexity and depth. When finished hopefully this combination of imagery coalesces into a harmonious whole giving the work a new meaning. This is the essence of my work. 
It’s exciting to work in layers because you can’t really plan it. As a result, you’re never really sure what the end result will be. This method is perfect as it helps me discover new aspects of my process. I might plan a concept in advance, but then let the layering process lead me, allowing it to take over and guide me to unexpected results.
I am now seeing a similar pattern in my spiritual development, made evident by peeling away layers of personal development to reveal more truths underneath. Only after one layer is peeled away can the next layer underneath be worked on. It cannot be rushed. I never thought about this before, but I think it’s interesting to see how this compares to my process of making artwork.
The word “palimpsest” has been used to describe my practice, alluding to my practice of scraping and masking certain elements in an artwork in order to reveal others. By revealing traces of what is left behind, my work shows a worn quality, evoking a sense of history and alluding to mysteries of the past. 
ANTE. What new challenges are you looking forward to in your work? What new mediums are you anticipating working with and how would you like your practice to develop in new ways?
MG. Currently I have acrylic skins that I’ve made in a larger format than I’ve previously worked with. I want to print images onto them but I haven’t tried it yet. Printing onto large acrylic skins is challenging on my printer and can be risky. This is one reason why I’ve been working in a smaller scale until this point, but now I want to take on the challenge in this next phase of figuring out how to scale up. 
My work has also been developing toward working with multi-dimensional surfaces. I like the extra dimension as it brings out the reflective quality of the paints I use. As well as utilizing transparent and translucent surfaces, multiple layers in a work results in the image changing depending on how light hits the surface. This imbues the work with a sense of movement and helps to keep it from feeling static. It takes thought and experimentation to recognize how to best display my artwork, particularly when it comes to framing. The process is very different with each artwork. It can take time to find the best position and angle for artworks to hang onto the wall in order to truly capture the depth and shadows present in an artwork. It’s not the same as working with an opaque or rigid surface, because each work requires a different approach in order to enhance the work. 
With my artwork, the types of energy incorporated into each layer can change as the artwork builds. More layers mean a combination of energies can be present in each work, adding a feeling of depth and complexity.  This can almost be considered a type of alchemy in which an artwork transforms as layers are added. My hope is that this will lead me to explore new aspects of my practice I haven’t considered yet.  

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Grant, Marion. Fairy Music (2018) 11″x11″
alternative media translucent collage, image courtesy the artist.

Peter Gynd Delights with “Blanketed” at Ground Floor Gallery

Artist Peter Gynd takes a subtle approach to the nuance of geography and communication.

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Install image: Jordan Rathkopf

Framing his explorations of identity through the lens of textile and pattern, Gynd’s paintings at Ground Floor Gallery, on view mid-May through June 3rd, offer the viewer a literally veiled approach to investigating meaning. Cloaked figures navigate nuanced blends of imagery, with minimal color but an intricately balanced sense of line. Figures in his paintings and photography are precariously balanced, hovering delicately between agency and ambivalence.

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Install image: Jordan Rathkopf

Taking cues world textiles and the ambiguity of identity, Gynd’s figures stand solitary yet defiant. Features hidden, their postures indicate hesitancy or a search for a deeper meaning. Figure and ground emerge as partners in a compositional dance: the form emerging from aspects of an uncertain environment, solid yet unclear. Landscape itself exists yet recedes, playing a role as ambiguous as the movements of the figure it foregrounds. Color and line often share a role across figure and landscape, intertwining the two in a holistic narrative.

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Install image: Jordan Rathkopf

Trained meticulously as an oil painter, a fifth generation artist in his family, Gynd holds a BFA in Glass from Alberta College of Art+Design and works as an artist and curator. He was selected as prestigious artist participant in Ground Floor Gallery’s 5th anniversary project “…in 5 Acts.” Gynd’s exhibit, “Blanketed: Textiles, Culture and the Landscape,” is on view through June 3rd at Ground Floor Gallery, 343 5th Street, Brooklyn. Gallery hours are 3-8 pm and the gallery will have a closing event on Sunday, June 3rd.