Now That I Think About It

An Interview with Dante DeStefano

Part 1 of 2 (link to Part 2)
Click any image to enlarge

My interview with Dante DeStefano (noting up front that she is indeed a lady of the female persuasion) started back in March of this year. We traded a few correspondences back and forth and she kept me nicely updated about her progress! So gold stars all around for any foreheads that want them (I have to always buy the extra large bags full of same for my dome but still have one or two left)! I would also like to confirm that I actually wanted to publish this a few weeks back and that the awesomely timely publication right before Halloween is unrelated to anything. Yeah.

I did begin to feel a little guilty though as she mentioned that even though she was appreciative of me ‘taking the time to really thoroughly research my work and background’, that in some ways I had thrown her for a bit of a loop. I don’t know, but I guess from my ‘side of the table’, I just begin to get nervous when someone says ‘hm, never really thought about that before and now you’re keeping me up nights wondering what it’s all about really.’ Okay, I’m paraphrasing, but Dante did say that I’d given her a lot to think about and all I can say is that when that happens to me, I’m up for days with a migraine.

But I guess it was a good experience for all of us, even if my typical bang-on-your-door-until-you-open-up style was supposedly more in depth than any other questionnaire about her art and career that she’d answered before. Dante did say that was cool with her and that actually, after starting the interview she said the process helped her make some changes in her presentation and focuses (focusi?), that is, on her website and other places.

Anyway, I hope that the process did indeed turn out to be beneficial to her – not that her work needs it for sure because she totally rocks. And I think we’ll all learn something, too, which is nice! So let’s get right down to it, shall we? Yes, let’s!

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Welcome, Dante! Before we even get started on the whole art shtick, I have to ask : I’ve been lucky in the past to spend a few fantastic weeks in Florence (Italy) and the surrounding areas. With that in mind: how did you come about receiving your fantastic yet historically interesting first name?
Hi Ziggy! Oooh, I’ve been to Florence, too. It’s gorgeous. My dad is from Italy, so I get to go see my family there occasionally.

Anyway, “Dante” is kind of an interesting name. For starters, I’m a lady. I like having a boy’s name. My art isn’t always very feminine, so people expect male artist a lot of the time. I kind of have an androgynous mind.

Also, “Dante” means “enduring”. It’s a strong name. I like to think that I can go through Hell and back and totally kick ass doing so.

OK, thanks for letting me get that out of the way. Can you tell us then please what you’re working on now (or more accurately stated, when we’re actually doing the talking bits)?
I’m working on my freelance illustration assignments and I’m excited to begin working on a new series of paintings for a show at Kai Lin Art gallery in Atlanta called “Monsters 2.0”, opening in September. It’s the sequel to the first “Monsters” show that opened that time last year. I’m also touring around and tabling at different festivals and conventions in the Southeast. The next big con I’ll be at is Dragon*Con here in Atlanta. You can check out my blog to see where I’ll be at other upcoming shows.

Also, I’m working on a comic book series called “Ragbone” about the adventures of a 1920’s ragtime jazz band of skeletons in a fun and spooky netherworld inhabited only by other skeletons, ghosts, and demons. I have the first five issues planned out. It’s a labour or love and I work on it in between working on my freelance projects and other jobs, so the first book is still in the early stages of development.

What about your background and what led you to where you are today? How about your earliest and current inspirations?
Like most other artists, I loved drawing and making things as a kid. My old brother, Nic, was also an obsessive drawer and he really helped fuel my love of art, comics and cartoons when we were growing up together.

As a kid, my favourite comic was Walt Kelly’s ‘Pogo the Possum’. I was never really into superheroes and villains, but I loved humorous stories and oddball comics. Having said that, I naturally love so many of today’s true stars including Jeff Smith (‘Boneville’), Doug Tennaple (‘Ratfist’), Jamie Hewlett (‘Tank Girl’ and ‘Gorillaz’), Ralph Steadman (he of ‘Gonzo Art’ fame!), and Rob Schrab.

Also, I’ve got to say that Tom Waits is my biggest overall creative influence! I’ve been listening to his music since I was 8 years old and can still remember the daydreams that I had while enjoying his music. I’m also very influenced by literature by authors like H.P. Lovecraft and I’m a total film nut. I love any story that can scare the pants off of me (which is not easy to do) or broaden my imagination.

Later on, I attended SCAD-Atlanta for a couple years in Sequential Art and ended up transferring to graduate from Portfolio Center’s illustration department. I learned a lot from both schools, but I have to give it up to my teacher Gary Weiss and friends at PC for paving the way and ingraining the good work ethic that I have today. Without them, I think I’d still be clueless. I love comics and cartoons, but I also love classic painters, impressionists, golden age illustrators, and plein air.

Most recently, my biggest creative influences have been my friends. It feels so awesome to be able to say that because it’s true and it’s great to have some of my favourite artists and people in general as creative support. Some of these friends have been there since I was at PC. Some of them I met later at festivals, conventions and art groups. They’re all amazing artists I’m blessed to have them by my side.

Now, I’ve been to Hot-lanta many a time (although I will not divulge all reasons here for same, mostly in order to protect the innocent). What’s the art scene like there?
Hahaha, honestly, I’m still not sure. We have one, but I’ve only been a part of it for maybe a year, so I’m still getting a feel for what’s going on.

Unfortunately, a lot of our galleries have closed their doors after being hit by the recession. Since that is true, I feel that there has been a shift towards small artists’ groups, studios and short term, “underground” art parties. Also, artists here are reaching out to different venues other than traditional galleries, like restaurants, cafes and boutiques. I consider this a smart move. It just shows that our artists are adaptable.

I’m very fortunate to be working with a wonderful gallery like Kai Lin Art. The owner, Yu-Kai, keeps a great eye out for emerging and local artists and his gallery is stocked with a mix of light-hearted, quirky work and uniquely beautiful, but more serious pieces.

You seem to have a pretty wide and even eclectic selection of different outlets and even materials you work for and with, including children’s media, oil painting, apparel and surface design, cartooning, and artwork for music and bands. Why do you think you are – or perhaps better said – want to be so ‘focused’ on and involved in so many different outlets?
Again, honestly, this is because I’m such a noob!

(ZN: we think – but are not 100% sure – this stands for ‘newbie’ or someone who is new at something... we googled it, and are pretty convinced that about half of the links and images we got back are NOT what Dante means!)

Right now, I’m focusing mainly on art that I sell at shows and freelance illustration. What I like to do most of all is art that is in my own style. In school, first I focused on comics, then on children’s media. Later on, I discovered the possibilities of freelance illustration and kids media.

At the beginning of 2010, I had just gotten over a round of illustration gigs that I got right after graduating. They didn’t end very well, so I took some time, without looking for clients, to soul-search and focus on making artwork that I enjoyed doing, whether other people liked it or not. This is something I’ve learned from listening to the music of Tom Waits. You’ve just got to make what feels right and the weirder it is, the better it gets. Luckily, people like it.

It wasn’t until I started listening to myself and making art for the love of it that I began getting work that I enjoyed out of it. My website is very broad and sometimes scattered because I’m still getting my name out there and trying to find my niche. As an illustrator, right now I need to display a wide range of my talents in order to get different kinds of work until I get more well known for my own unique style that I’ve begun to cultivate.

Continued in Part 2

Now That I Think About It

An Interview with Dante DeStefano

Part 2 of 2 (link to Part 1)
Click any image to enlarge

Dante, I’ve thoroughly enjoyed looking through your different portfolios on your home page, well done! A couple or even seventeen or so questions to these:

Your different collections show a wide range of styles. Are you still looking for that ‘one’ (+/-) style that defines your work or is this something that you would rather avoid? I guess I’m asking : how important is it to you that someone sees one of your pieces and says ‘hey, now that is DEFINITELY a Dante DeStefano’?
It’s become very important. As a young artist, I’m just starting to feel comfortable in my own skin and build a body of work that is definitive of my own unique vision. The more I draw or paint, the clearer that style becomes.

Also, the clearer I can see what it is I want to focus on. I totally dig all things spooky, vintage and rock ‘n’ roll. Those things live in my heart and just seem to roll off of my fingertips onto the page.

Also, this may be a rather obvious statement: but it seems you clearly have an affinity for monsters. How did this come about?
I’ve always loved monsters, robots, mythical creatures, and weird things of the like. I love pushing the boundaries of exaggeration and coming up with odd combinations of parts to put on my characters. As a result, a lot of my sketches turn out to be monsters.

They’re my special friends. We go on adventures in my head and some of them end up on paper or whatever. I’ll also watch just about any monster movie out there. I’m a huge horror fan.

I enjoyed as well your quote about your furry (or scaly or...) friends, including what I believe is even a picture of your cat (or bat?) below:

Each of these monsters have their own personalities, so when I start drawing, I had to let them just be themselves and tell me what they look like.

What comes first with these : their personalities or their shapes, colours, appendages, catalogue of victims, etc.?
I think it’s a mix of shapes and appendage combinations.

All of my work begins with simple geometric shapes. I push and pull those basic shapes around and combine them in an interesting way until they become the start of a good creature. Then I look at what kind of creature it is starting to look like and add some features to them that maybe wouldn’t typically be on that kind of animal.

Can you walk us through your oil paint ‘rub-out technique’ for many of these works? That sounds fascinating and the imagery as well as the texture you achieve is fantastic!
Yes, oil rub is wonderful on its own, but I’ve married that technique with a texture called “mastic”. They work wonderfully together because the rub-out picks up all of the wonderful cracks and layers of the texture.

An oil rub-out begins with covering an entire surface with a thin layer of paint and then rubbing out the light parts that I want with a brush or rag dipped in oil. The layered texture is achieved with smearing mastic over hand-cut stencils and found objects.

Is it important for you to have a balance between what seems to be sometimes inorganic and organic aspects of your art?
Totally! Like I said earlier, I always start my characters and compositions with basic geometric shapes as a foundation, but I like to add lots of organic flourishes as secondary elements. I also like the final painting or product to have a rustic, handmade look that compliments the inorganic shapes. This is especially apparent in my watercolour and ink wash paintings.

Even in the shapes I like to use, I like a balance of straight lines and curves. I also love playing with common-lines and tangents to flatten out spaces on purpose. Those can be an artist’s worst enemy if you don’t know how to use them.

I’m also very impressed with your collection of design and self-made textiles. How did you get interested in the more apparel and/or fashion side of life?
I love fashion and dressing up. I’ve spent a lot of time shopping around in thrift stores. Surface design is one of the largest industries that designers with a background in illustration can get into. It’s one of the few in-house design career options that are available right now for someone with my skills.

Maybe someday after I’ve sewn my wild oats (ZN: is that even legal in Atlanta?), I’ll work at a company making surface designs as a full-time job and be able to work on my fine art and comics in my free time. Plus, pattern design is fun and lets me play around with color.

Now as a fellow Cancer, I am somewhat surprised by your... hm, let’s call them ‘special abilities’, particularly as I would think they'd be more of a 'Scorpio' thing. But can you tell us: what exactly are “lobster powers?” And without putting you and the good citizens of Atlanta in danger by revealing too much to your enemies, but how did you come about gaining these powers (and also, how often do you need to communicate telepathically with crustaceans in your work)?
As you mentioned, “lobster powers” is the ability to communicate with crustaceans. You see, I was pinched by a radioactive lobster at the Dekalb Farmers Market one day and developed these abilities soon after. I can also use the powers to call upon my pinchy-clawed friends to help me fight my enemies when needed.

Otherwise, Lobster Powers is also the name of my Tumblr blog.

Back to the real world but only barely: I read on your blog that you’ve just returned from MegaCon. How much preparation and late night hours do you spend working and getting ready for cons aka conventions? Do you attend a lot of these?
I attend Dragon*Con every year just for fun and I’ll be tabling there this year. Cons are a blast. I just started tabling at conventions and festivals last year.

MegaCon was my second comic convention artist table experience and the first time that I’ve ever travelled for art’s sake. It was a successful trip and I had a great time doing it. You meet so many awesome people at these things. It’s been a great way to get my work out to my kind of people. I definitely plan to do more. It does take a lot of preparation to table at a con, but it’s all worth it in the end.

Also, do you as a ‘displayer’ see these as a big advantage for your career or are they more along the lines of ‘necessary evils’?
Being an artist at events like these has been a wonderful opportunity. It’s definitely a big plus. It’s a great excuse to travel and form friendships with people in other places. I wouldn’t get that chance otherwise.

Growing up wanting to be a puppeteer myself (I had all kinds of felt puppets and my dad even made a fantastic full-sized ‘theater’), I was happy to see that you are also involved in puppetry. How did your involvement in this come about? Do you see any revival if you will of this art form, either from a making them or using them in shows perspective?
In Atlanta, we are very fortunate to have The Center For Puppetry Arts, America’s largest puppet theatre, museum and puppetry community centre. I’ve been attending shows there since I was 4 years old. The Centre made a big impact on my childhood.

I also attended their “puppet camp” for many years and then went on to do a short production internship in the workshop and on stage. Puppetry as an art form goes back to ancient times and will always be around in some way.

And while we’re on the subject, I was overjoyed to see that you, too, are a Muppet fan! What did Jim Henson and co.’s wonderful creatures mean to your creative upbringing?
Holy crap! I don’t know if I can express how much I love all things Muppets and Jim Henson!!

As a kid, I spent hours watching the shows and movies, reading books about the Creature Shop, making puppets, and putting on puppet shows for my friends and family. Henson and puppetry in general had a huge impact on my creativity. It hasn’t stopped, either. I still crack up while watching ‘The Muppet Show’. Nowadays, one of my favourite things about the skits in that show is how simple they are. Think of “Mahnahmahnah”. A skit like that is just made up of a nonsense song and the characters dancing around to it and it’s hilarious!

I try to convey that same light-heartedness and simplicity in my artwork. When things get too complex and heavy, I just think of The Muppets and lighten up.

Okay, time to REALLY put you on the spot : if you had to choose just ONE area to work on, what would it be and why? Conversely, are there any other areas you’d like to take a stab at (knoting the knitting reference there, knice, huh?)?
At this point, I’d have to say I’d like to focus on “fine art”.

Even though I’ve worked with a lot of different media outlets, it all boils down to three areas: art, illustration and design. They all work together harmoniously. The “art” area is basically stuff that I did without “adult supervision” or a client when I’m making it. This is the stuff that makes me really happy. It seems to me that when I focus on and show this work that I receive more illustration or design work as well.

What else have you had / do you have on your creative radar for the coming moons?
Other than Monsters 2.0 and Dragon*Con which have now ended, I want to try and find some new homes for my art outside of Atlanta. I was going to do a tour of South and North Carolina with that in mind but the con wound up taking more prep time than I expected. On my 'to do' list for sure!

I also wanted to try and be at Spooky Empire’s Ultimate Horror Weekend in Orlando, Florida in early October - as it's an event that really looks like it's tailor-made for my work! - but things were just too busy to make it. I'm looking to try and be there possibly next year though.

But I do plan on being in lots of arts festivals in Atlanta, hopefully in the coming months. So if you’re in the area, keep an eye out for me. In between and beyond all of that, I’m open for commissions and freelance illustration!!

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Dante DeStefano is a very talented young visual artist, illustrator, designer, and mad creator currently plying her trade primarily in the warm climes of Atlanta, Georgia! I’d add something about her obvious charm as well but methinks I’d suddenly feel the psychic grip of lobster claws around my neck if I did ... so I, um, won’t.

Among the ever-growing skill-set she brings to the table are her well-versed abilities with both traditional and also digital media. She skips about just as happily as can be between fine art and commercial design, letting perspectives from both worlds influence each other harmoniously. We’re not sure what that means exactly but we promise to test out various ‘enhancing substances’ to see if we feel the same way, too!

Her current main focuses are oil painting, children’s media, surface design, cartooning, and artwork for music. Dante’s work can be regularly found in galleries, including the fantastically supportive Kai Lin Art gallery! These days you’ll find her doing all kinds of creative stuff including working as a freelance illustrator, touring at comic book conventions and art festivals, and just in general honing the fine art of mad science to perfection!

Please check out more of Dante’s monstrously fun images and more at these and other links!

Homepage
Blog

Social media
Facebook
Twitter

Additional Galleries
Kai Lin Art
Homegrown Decatur
Etsy

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All pictures, videos and other media are used with written permission of Dante DeStefano, including all current or previous business affiliations related to same, or are available in the public domain (noting copyright and other restrictions, accordingly). No further reproduction or duplication is permitted without contacting the artist directly.

Some pictures have been modified slightly or combined only for the purpose of space limitations. In all cases, we invite you to visit the artist’s site(s) for more, including the links provided above.

A Colourful Sense of Freedom

An Interview with Artist Bonnie Coad

Part 1 of 2 (link to Part 2)
Click on any image to embiggenate

I’ll tell you point-blank: Bonnie Coad’s art has had a profound effect on me.

Sure, I could use this moment to raise the classic discussion question – ‘In what way does art affect people?’ An excellent topic after all if we happen to have a few bottles of Cabernet Sauvignon or a case or two of properly chilled Crémant sitting close by. And yes, the safe (sober?) answer would/should include some acknowledgement that the potential responses are as varied as both the types of art ‘forms’ one could identify as well as the individuals viewing said creations (or creating said viewings). That there could be an infinitely wide range of emotions as well as physical or unconscious reactions to the equally immense amount of glorious design, clever or vapid commercialism, stunning and stylish illustration, music that flies as high as a Zeppelin or sinks as low as a Bieber, and all the rest from the world of ‘art’ that we are exposed to every day. That there is no limit to how art does or could affect us at any given moment or even how the same art could affect us later, yada yada yada. Aw heck, let’s leave it as ‘I don’t know much about art, but I know what I like!’ That works for me at least, especially if the wine is starting to run low.

Having said that: how has Bonnie’s work affected me? Well, let’s keep it as simple as possible: she makes me want to start painting again. Now, don’t take that lightly please. Painting has always been for me one of those things that come with a large warning label: ‘DO NOT PUSH THIS BUTTON! YES THIS MEANS YOU!’ I enjoy painting, yes, however there’s just something extra... hm... personal about the process that literally scares the beejeebers out of me. It’s a nagging fear I have that if I got too much into it, well, I’d wind up making someone like Vincent Van Gogh look well-adjusted. And I look weird enough as it is with two ears, so there’s that aspect, too...

Have other guests here at ZN HQ also affected me in such a positive way? Of course, almost without exception. I can’t even begin to count the number of terrific works and fascinating artists I’ve ‘met’ through the blog. So many that have inspired me – successfully in that at least I have more often than not given it the old college try (or intend to as soon as that Lotto ticket finally comes through) – to sketch, illustrate, or even convert my daily thoughts to framed storyboards, fancy meme’s and more. I’ve been thoroughly motivated more times than I can count to invent and convert plus cut up anything recyclable I can get my hands on and sculpt with whatever I can get to stick together!

In this case though... well, it’s a little different, because I’ve been a little bit down this path on my own before. But what is so enticing? Is it Bonnie’s use of such a wide palette of colours, forms and textures? Without a doubt! Is it her interest in experimenting with different bits and bobs that she sometimes throws into her compositions for that extra special flair? Of course! Could it also be her easy-going, down-to-earth approach to the whole crazy process, which I’ve especially enjoyed getting to know via Facebook and other forums? Again, spot on! But there’s more to all of this and I’m not even close to being sure how to sum it up. So instead, I’ll step back and let you enjoy, too. Oh and pass that bottle this way if there’s any left, cheers.

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Hi Bonnie, welcome! To start off, can you tell us a little bit about yourself and how your art career began?
Hi Ziggy! Great to have this awesome opportunity to chat with you!

Well, a bit about “me” and my “art career” ... First, let me just say that inside of me is a shy person who hates to talk about herself! I am not a natural in the limelight and I am oddly uncomfortable with praise. In fact, since you ask I have to say that this has probably been the biggest obstacle for me on my journey as a self-taught artist. You see, for years I didn’t even like to admit to people that I AM an artist. I don’t know why, it was only close friends and family with whom I felt comfortable sharing my art; it made me feel uncomfortable to admit to strangers that I was an artist. Perhaps I felt subconsciously that I didn’t really deserve the distinction.

But with constant practice I eventually got over this. I reached a point where I realised if I didn’t control my insecurities I would never achieve any acknowledgement as an artist. And my art had also progressed to a point where recognition was important to me. I am quite happy to admit it these days, though I do occasionally still feel an involuntary shudder, a regression if you like back to my shy ways.

So having said that, a little about me: I was born in London while my “hippie” Australian parents were enjoying their long honeymoon trip around the world. My mother once told me I was conceived on a beach in Morocco (or is that too much information?). It all sounded very romantic when I first learned that... until she went on to say she could distinctly remember dropping her birth control pill in the sand outside their tent and couldn’t find it. So I guess I was a happy accident – which is ironically also how I often describe my art!

My parents came to New Zealand in 1978. We settled on the West Coast of the South Island in a relatively isolated spot with no power or phone service. We lived basically in the middle of nowhere, near a rain forest and close to the beach, with a river on the doorstep. Still, it’s this environment to which I credit my creativity! You see, when you’re stuck in a small shack and it rains for weeks without a break, you have to find ways to keep yourself sane. In my case, I would draw for hours on end! And when the rain did finally let up, I would go out and find all kinds of treasures on the beach, which I would use to build driftwood huts and more. It was a great, idealistic childhood!

Funny enough though, I never wanted to be an artist growing up; I wanted to be an archaeologist! I was always very good at art in school; however, I never liked sticking to the lesson plan. I’d go off on my own crazy tangent and not apply myself to my given tasks. Plus, I made the very silly decision – though it seemed like a good idea at the time! – to leave school at age fifteen, move away from home and get a job.

In fact, it wasn’t until my son was born in 1996 that I took up painting! It took me a few years of experimentation to develop my style. At first, I played with portraiture and landscapes but found them far less than satisfying. However, through constant trial-and-error I developed a love of texture, colour and experimental paint application. Now I can’t imagine living without painting! I am constantly thinking of my next project.

I apologise for my naiveté, but I know very little about New Zealand other than it’s a fantastically beautiful land with very nice people and that it tends to sport very good Rugby teams. Besides the great folks like yourself and all this wonderful nature around you, what is the art scene like there?
Ah yes! New Zealand: the land of flightless birds, countless sheep and epic movie trilogies about small people with hairy feet looking for magic rings!

Well, now that those clichés are out of the way, I can assure you that New Zealand has much more to offer than just great Rugby teams. We have a diverse and dynamic art scene and there are some very well known New Zealand artists to boast of, such as Colin McCahon, Rita Angus, Frances Hodgkins and Ralph Hotere to name a few. Plus, in every corner of our lovely green Island Nation you will find local art societies, theatres, all sorts of beautiful Galleries full of wonderful art and people with a hands-on passion for creating. There are plenty of vibrant art ventures embracing every sort of creative medium you can imagine with lots of annual festivals and awards to celebrate the arts, such as the Wallace Awards and The Auckland Fringe Festival.

Getting back to your journey as a ‘self-taught’ artist: do you come from an artistic family?
Yes, my family is both very musical and also quite artistic. My great grandfather was a musician in the Australian Army Band in the First World War. My Great grandmother played the piano and taught her daughter who in turn taught my mother who then passed the love of music on to her children. I did learn to play by ear and by what I picked up over the years being around my musical family. But, as with school in general, I lacked the drive to study music. I can still fudge and slur my way through a piece of sheet music but it takes me a few days to learn it!

My two youngest sisters have learned how to play several instruments and have even studied operatic singing. They apparently got some ‘talent’ genes that I missed out on! My mother does dabble in painting and creates beautiful water-colours, so I have that connection to her talents! My father is also a jack of many trades: he is a builder, even creating his own house plans. He is always making something, from furniture to even wine, and constantly has a project on the go!

How about your influences from the art world? Did you have a favourite artist or art outlet as a younger person that most swayed you?
Not really, I can’t say I have any favourites; I love so many different artists’ work and enjoy so many different art genres. I’ve even dabbled in poetry, plus I love literature and have incorporated this into my art at times. I’ve done a little carving, as well as sculpture. I did Modern Dance as girl and I play a little piano as I’ve mentioned already. Still, like my taste in music – which ranges from classical to heavy metal and everything in between – my love of art is extremely varied.

It’s just that I’ve always believed that there isn’t anything to be gained from limiting your experiences in life. Even if a piece of art doesn’t personally appeal to me in the sense of ‘would I hang this on my wall at home?’ I still like to challenge myself to find some aspect of it that I can admire.

Continued in Part 2

A Colourful Sense of Freedom

An Interview with Artist Bonnie Coad

Part 2 of 2 (link to Part 1)

Click on any image to enlargenize

Bonnie, your work shows hints of cubism, modern and abstract art and even impressionism, as well as in some cases strong flavourings of the Orient. Did you privately study these styles or has your knowledge grown as you’ve developed as an artist?
Apart from a couple of night classes learning about using water-colours – which I would note my mother had to drag me along to – and what little I learned in art class in school, I have had no formal training. Instead, every little ounce of ‘knowledge’ and experience I have gained has been through reading books, speaking to other artists and again lots and lots of hands-on trial-and-error. And there has definitely been plenty of error along the way!

I do love Cubism; being able to break things down into simple, recognisable shapes fascinates me. A lot of my art includes images or forms that are mere hints or suggestions, where I try to draw the eye in and make people look and choose for themselves what they take away from it. I like to challenge people to have a reaction to my art, good or bad. To me, it doesn’t matter what their reaction is as long as they feel something.

In terms of the oriental ‘flavourings’, my mother lived and worked in Japan for two years during her travels. She came back absolutely loving Japanese textiles and their culture. As such, we had a lot of Japanese items about the house. I think the flamboyant colours and free shapes and designs must have rubbed off on me.

Both colour and texture are obviously very important elements of your work. Why do you think you have developed such an intensely colourful palette?
Through my experiments learning to paint, I discovered that I love playing with colour! I love opposing colours, clashing colours! I like yellow and purple, I like orange and green, I like colours so bright you can almost hear them hum!

I really love to combine lots of different colours in a composition! To me, they are so happy, so vibrant, so challenging. I find using intense colour extremely satisfying, and I think that when you get it right, all these crazy colour combinations can actually come together to form an image that is quite calm and reflective.

So after that great big release... I guess you could say that I have developed my intensely colourful palette out of self-gratification to please my own tastes! And is there a better reason to develop something that that?

I understand that you also like to ‘experiment’ with paint applications and new effects, even including grain and rice in your pieces to add unique textures. How did you become interested in trying out different ‘additives’ to your pieces?
I learned about these kinds of ‘tricks’ through researching more about art and also of course talking with other creative people. I discovered there was no end to the things you could attempt, that the only boundaries in art are the ones you place in front of yourself!

I have to confess, my love of experimental paint application has reached almost obsessive levels! I can’t go anywhere without finding something I see as potentially useful. You should see my guest room (at present, I don’t have a studio and this spare room has become my art room): it’s full of boxes of old sewing patterns, sheet music, bags of fine and course sand, bubble wrap (used, for example, in the picture above) of every shape and size plus a thousand other possibly useful things I intend to use one day. I pity any poor guest that has been squeezed in there while visiting us!

Bonnie, you also act as the ‘house artist’ for the Riverside Café which is located in the Moutere Valley, between Nelson and Motueka (ok NZ Tourist Board, I linked all of that so don’t forget my check!). What exactly do you do as the ‘resident’ clever person for a cafe that isn’t even open year-round?
The Riverside Café is a beautiful old (1860/70) cottage which was converted into a café/restaurant in 2000. The award-winning gardens are lovely. They were recently voted “The People’s Choice” for best rural café in the local Nelson and Marlborough Magazine “Wild Tomato”. The café is an off-shoot of the Riverside Community, originally established by Christian Methodist pacifists in 1941.

You’re right, they’re not open all year because the economics just wouldn’t work. In fact, during the winter, they are only open weekends to cater for the locals and they even close down completely for one month of the year. Being a rural establishment there is simply not enough human traffic to keep it running during this time and with the current economic situation things have been even slower than normal.

When they are open, I exhibit my works there, adding fresh works periodically as well as selling my art in the more affordable forms of cards and calendars. Plus, each October, I hold an opening to launch the new season’s exhibition.

Can you talk us through a typical creative ‘process’ for one of your pieces? With some of my favourite of your works, you mention having even started from scribbles or doodles! Wow!
Yes that’s right: sometimes if I’m in that sort of mood, I will do a big scribble and look to see if there is some aspect of it that I like. I find it’s a good way to unblock myself if I am getting a bit frustrated with a piece that’s not working out the way I want. I think the human brain is always looking for shapes it recognises! So, if I see a face or the outline of a woman in one of my doodles, I’ll build it up from there.

In fact, very few of my works are planned and neatly laid out from concept to the finished piece. My working style is very “organic”. Sorry, I don’t mean to get all arty on you. All I mean by that is that many times my paintings continue to grow as I paint them. Often, I only have a very vague idea of what I am going to do and sometimes not even that. I just let the paint take me where it will. In terms of how I work, well, I am an early-riser and get up around four a.m. most mornings to get a bit of painting in before I go to work. I like to listen to music and even sometimes talking books while I am working; it helps to clear my mind. In fact, I once did a series of paintings in response to Beethoven’s “Moonlight Sonata” (also the name of my piece here). I had the CD on repeat for about three days straight!

Concerning my process per se: I normally start with a textured base. Tissue paper is a favourite of mine. Then I’ll use cutlery, bubble wrap and anything else I think will create an interesting effect to apply the paint. Plus, I’ll normally have about three paintings on the go at once.

I was interested to see that you stated ‘I don’t believe in painting chiefly for profit and reproducing works to order.’ Why is that?
I think it takes away from the creative process and the artist’s integrity. Sometimes people will ask if I could paint them a copy of a painting that I have sold already, maybe because they liked that one. Or they really like another one BUT the colours are wrong for their decor. So they’ll even ask ‘could I paint it in blue?’

I’ve even had people come to me with quite detailed concepts and ask if I could do these for them. To be honest, I find this sort of thing a bit insulting. If my heart is not in a painting, no amount of money will convince me to do it. I think we live in such a consumer-driven world these days that people sometimes forget that there are limits to what you can buy. At the end of the day, the pieces that result from my creativity are only for sale on my terms.

In addition, I don’t think its fair at all to previous clients who have brought work to have that same work reproduced for someone else. I mean, I don’t disapprove of making prints and selling them as such or even as greeting cards, especially to make the art more affordable and accessible to more people. Still, a print like this will never be the same as the real thing.

Your pieces quite often feature women, sometimes very clearly as a portrait or even merely hinted at in a dancing or otherwise graceful movement. Is it important for you to include women in your artwork or is this more of a case of painting what you know?
It’s definitely more a case of painting what I know. The female form is so familiar to me that I see it in everything; so, when I am painting it often just jumps out at me.

Also, I guess I’m a bit lazy at heart, too: I let my works breeze in like old friends instead of agonising over them for hours and hours. Well, sometimes there’s a bit of agonising!

While we’re on the topic of truly ‘artistic’ endeavours, you’ve mentioned you’re also involved in the local wine industry?
Ha ha ha ha! While wine-making is rumoured to be a very artistic pursuit, take it from me: WORKING on a vineyard is nowhere near as romantic as some people assume!

But yes, I have been working for Wither Hills Winery for about seven years, simply because a mortgage is a hungry wee beastie that needs to be fed!! While making a living with my art is my dream, as many artists will no doubt confirm, the reality is that the cash flow from art can’t always be relied on, especially in the current economic environment! New Zealand is no different to the rest of the world in this regard: things have slowed right down and people are strapped for cash! So, what’s the first thing you cut from the budget when money gets tight? Exactly...

Even with the slowdown though, 2010 and the first few months of 2011 seem to have been very busy for you, with lots of shows and even a well-deserved ‘Best of Show’ award. What big events have you got planned for 2011 and beyond?
Yes, it’s been busy lately but a lot of fun! I recently exhibited in Auckland at the 2nd Pink Noise Art Show and I am working on a solo exhibition to be held locally here in Marlborough. Plus, I just signed with an art agency in Auckland called ‘Art and Soul’ and have been busy getting my some work together for their promotions.

I have also been invited to exhibit in Fusion Gallery & Studio’s “Undy Four Hundy” art show. In addition, there are several other group exhibitions I have been invited to enter my work in ... and if you want, you can add that I need to come up with approximately twenty new works for the next café season, which will kick off in October 2011! So all in all I am going to be terribly busy!!!!

I’ve been involved as well in work for a couple of on-line magazines: Pink Noise founded by Katie Robinson, and also Rem Magazine, which is the brainchild of Orchid Tierney. Orchid has asked me to be part of the editorial board for Rem in the role of a ‘blind reviewer’ of submitted artworks to help in selecting work for the magazine. Both of these are non-profit magazines so there is no payment involved. But they are good exposure opportunities and they are full of wonderful and interesting arty stuff! In fact, my own work was featured Pink Noise’s zine #4 & #5 and Rem magazine’s first issue. That was fun, even though I will now no longer be eligible to submit work for Rem, as there would be an obvious conflict of interest.

Where would you like to see your art ‘career’ head over the next years? Are you looking to expand beyond the local market or just take it as it comes?
I am expanding out a bit this year. After all, being a successful artist is about exposure. Again, it does take me out of my comfort zone putting myself forward for exhibitions and more; but if I don’t make an effort to get my work out there, who else will? I have always been a bit of a “take it as it comes” sort of person but I think now is the time to step it up a gear. I would ultimately like to one day make a living from my art.

Finally, what is the one thing that you would like for ‘viewers’ to take away with them after enjoying your art?
I would like for people to feel the sense of freedom my art gives me when I am creating it; to feel the freedom to do things differently, and not be limited by what has been done before.

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Bonnie Coad is the proud owner of a – if not precocious then I suspect somewhat aromatic – cat nicknamed ‘Farty Moo’. No, I’m not making that up and yes, I did think that would be a more interesting start to Bonnie’s biography section than with the usual fluff. Though I suspect he also causes enough fluff as well...

A self-taught artist, Bonnie’s work continues to gather accolades for its originality, unique expressionism and creativity! She has been featured in a number of publications throughout New Zealand and has recently also graciously contributed her work and time to the cause of raising funds for the Christchurch earthquake victims.

Bonnie loves to include copious amounts of bright colours and interesting textures in her work. Her ‘experimental education’ in the arts has led to a sense of innocence in many of her pieces yet she offers a style that is both aesthetically pleasing and definitively professional in its execution. Despite the prolific number of pieces she has created in the past months as a result of what seems to be an almost obsessive work ethic (we didn’t even know there was such a thing as 4 a.m.!), her works continue to show a wide variety of novel themes and distinct constructions. She has a particular knack for capturing the soulful reflections and moods of the women and other subjects she paints.

Bonnie’s career will certainly be one to keep on your radar for many years to come! We wish her all the best of luck and want to thank her again for her time spent on this interview!

Links
Profile: http://www.thebigidea.co.nz/profile/bonnie-coad/30579
Facebook:
http://www.facebook.com/pages/Original-Art-Bonnie-Coad/101409399934250?ref=ts
Twitter: http://twitter.com/#!/bonniecoad

Shops, Shows and Other Galleries:
http://www.redbubble.com/people/bonnie33
http://www.artandsoul.co.nz/site/bonnie-coad/
http://www.flickr.com/photos/61599074@N04/

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All pictures, videos and other media are used with written permission of Bonnie Coad, including all current or previous business affiliations related to same, or are available in the public domain (noting copyright and other restrictions, accordingly). No further reproduction or duplication is permitted without contacting the artist directly.

Some pictures have been modified slightly or combined only for the purpose of space limitations. In all cases, we invite you to visit the artist’s site(s) for more!