Home

This is an artist’s take.

An artist interviewing artists.

The questions I want to ask.

I love process. It is a personal obsession of mine and gives me great joy. I love to know the questions people ask themselves. What drives them. What they look at. What they see. I talk with different artists, writers, and people who inspire me about their personal processes in these interviews.

PERSPECTIVES: KATE NICHOLS

Kate is a painter—she follows the tradition of the 15th century recipes mixing and making her own paints and also works with nano particles

PERSPECTIVES: QINMIN LIU

“I am an unstoppable body.” That is the title of her work—and it strikes me heavily—as I watch the first second of video—her body on the pavement moving—this is it!

PERSPECTIVES: ANDY VOGT

When Andy says—“I am examining the threshold of the wall”–he opens a wall—pulls the material out—turns it over and over—he looks at the space—the lines—the residue—and I understand we are not talking just about the material.

PERSPECTIVES: DENISE LAWS

she is paying attention—to the interior quality of our everyday use—and reminding us of its quality—its potential—and she talks about the sloshing paint being mixed in a bowl—I too love that sound.

PERSPECTIVES: LEXIE BOUWSMA

‘Bee eater’ and ‘Cereal dumper’—eventually the large drawing on the table will gain an official title—her narratives are open—leaving free space for someone to reveal their personal story without judgement.

PERSPECTIVES: ADAM BARRY

A thousand pages of ink—is practice—and the physicality of his vision and passion for material is inside the sketch books—lines drenched in tar—locked in an aluminum cage—it is the “Idea” that leads him to art—and the material that binds him to it

PERSPECTIVES: LAUREN MARCHETTI

“I like the flaws—all the inclusions… you never know what is inside until you open it.” She holds up a shell that began in an ocean that became a desert—she is speaking fast—she is excited.

PERSPECTIVES: ELLEN ROSENTHAL

It is intimate to hold a book of images the size of your palm—as if you are opening secrets—like opening the short, concise poems of Emily Dickinson—trying to tell a story but at a slant.

PERSPECTIVES: DANIEL LICHTENBERG

Dialogue is a specific material—and Daniel is looking at what is captured in a person’s spoken language—his transition from one medium to the next is linked by this material—it is his vantage point.

PERSPECTIVES: ANONYMOUS

Often we resist endings—not wanting to exit the familiar structure we have inhabited for years—because these structures help define us—we form our identities around these structures.

PERSPECTIVES: RICK D’ELIA

Actions precede understanding—sometimes we need to act— that action helps us understand our intention.  

PERSPECTIVES: AN EMPTY SPACE

As an artist “seeing” is the practice. But it is not so simple. For example, when you first learn to draw the figure, the teacher says, “Draw what you see, not what you think you see.” You don’t understand at first