José Skinner and The Tombstone Race

February 16, 2016 Scott David Gordon

Author José Skinner on East Cesar Chavez, Austin, TX.

It's very flattering to receive a referral for work, especially out of the blue, and to have an opportunity to meet someone new. A good friend of mine, who has done many portraits and is very capable, gratefully sent the local writer José Skinner my way to get some new portraits done ahead of the launch of his newest book, The Tombstone Race.

Working with different types of creative people is always fun and exciting, and I especially have a lot of respect for writers. I met José at his office on Cesar Chavez, and after taking a few warm up shots, we walked down the street to find the potential backdrops for these images. Personally, that is the way I prefer to do all my headshot/portrait type work, which I did a lot of in NYC while studying acting. José and I walked around his neighborhood exploring the colors and textures of the east side, using only natural light, and found some pretty great spots. All the while I'm getting to know José, we talked about his work and his life. Post photo shoot, I sent José over a few questions since I still wanted to know more about him.

I'm looking forward to reading his new book and seeing how the photos will be used because I really like how they turned out. It's even better because now I know José and have been exposed to more of the diversity and talent that exists under the radar here in Austin. Be sure to visit his website and read about his very interesting past.

SDG: Tell me about your new book?

JS: Fourteen realist stories set in contemporary New Mexico. Reviewers have described them as "gritty" and as depicting "hardscrabble" lives, and I guess that's true enough for many of them. You can read a review here:

https://www.kirkusreviews.com/book-reviews/jose-skinner/the-tombstone-race/

SDG: When does the book come out and where can it be acquired?

JS: It will be released March 1, 2016. Launch is March 3rd, 7pm at Book People.

SDG: Where do you get the ideas for your writing?

JS: Could come from anywhere: a snippet of overheard conversation, a remembered incident from childhood, a street scene. For example, last time I was in NYC I saw a grand piano being hoisted to a third-floor window. I can do something with that... I think...

SDG: What motivates you to write?

JS: It's the same motivation that ultimately motivates any artist or craftsperson, I think: the desire to create a solid piece of work in which everything fits together in a way that makes sense. Writing a story or novel is like building a house: it can be extravagant and baroque, but in the end it has to be unified as a structure. The reader has to inhabit it without feeling it's going to collapse around her. I suppose the same desire also motivates mathematicians and scientists. Physicists won't be satisfied until they can unify the fundamental forces and particles into a single field. Your panoramas are exquisite examples of distinct images brought to unity.

SDG: Thanks! The were a lot of fun to create. Do you work to an outline or plot or do you prefer just see where an idea takes you?

JS: First I brainstorm, and then I make an outline from the patterns that emerge from the free association. The brainstorming would likely involve characters. In the piano story above, I would immediately begin imagining the pianist, the movers, perhaps the building's super. Eventually a theme evolves, but that comes later--the owl of Minerva takes off at dusk and all that. I don't begin writing and see where it takes me: to keep with the house building metaphor, I think this would be like starting hammering boards together and hoping a structure comes of it.

SDG: You mentioned how you deal with writers block. Can you elaborate on that?

JS: First I think it's good to try to get your ego out of the way. You can't be thinking, "How is it that I am writing this, what are others going to think of me when they read this,etc. Instead, you have to think, "Here is a story worth telling and this person they call me seems to be the one that has to tell it, so let me take a crack at it." If the story seems to big and daunting just in terms of execution, keep in mind Anne Lamott's "bird-by-bird" advice: you have the whole diorama in mind, but you build it bird by bird, that is, scene by scene, word by word.

SDG: Who do you like to read and what books have made the most lasting impression on you?

JS: I read widely. A guilty pleasure are these "Very Short Introductions" by Oxford University Press, which cover everything from electromagnetism to Wittgenstein. (I say "guilty" with irony, aware that the cash nexus, the money economy that rules our society, would prefer that people not "waste" their time pursuing knowledge in a dilettantish way and instead concentrate on the specialty for which they've been trained.) In terms of the short story, which I suppose is my specialty and is indeed what MFA fiction workshops mostly train one in, I admire Mary Gaitskill, Lorrie Moore, Eudora Welty, Tessa Hadley, Juan Rulfo, Julio Cortazar, Richard Ford… I could go on. On the long side of things, and what actually got me writing, strangely enough, was Proust's multi-volume Remembrance of Things Past. In general, I prefer realist writing to postmodernist because I'm interested in discerning the patterns I think can be found in reality and history and don't think reality is so chaotic that one might as well slap any old pattern or design onto this hopeless chaos. For this reason, I enjoy reading science books. I am eager to read Nick Lane's The Vital Question, about the origins of complex life.

SDG: Thank you for your time and best of luck with the book launch. I really enjoyed working with and getting to know you.

Enter the Steelhouse

January 18, 2016 Scott David Gordon

Shane creates a metal mailbox with custom house number at Steelhouse MFG in Austin, TX.

For the last four months I have been shooting for the local Austin company Steelhouse MFG. They are a steel fabricator doing high quality residential and commercial work all over town. Welding and metal and construction are not the types of things I had ever had exposure to. It's a lot different than doing farm photography but just as fulfilling, and has been a real education. No doubt it has been fun and is mostly the type of work I like best, documentary style where I am just a fly on the wall. I'm staying out of the way while being right in the middle of everything. It reminds me a lot of shooting on a film set.

They approached me last year wanting a similar arrangement to the one I have with JBG Organic after admiring the images I create for the farm on a weekly basis. It's something I am now calling Frequent Photography. It really makes a lot of sense but not many companies think of it. If you want to maintain a blog, social media, and create a following online you need constant fresh content. Hiring a professional photographer for a few hours a week can give you that content. Really nice content that looks better than what you can get with a phone.

Steelhouse needs primarily four things that I have identified. Images of the goings on in the shop, installations in the field, documentation of previous projects for their portfolio, and images of new products for their side business Bold MFG. Bold is famous for their custom mailboxes, fire pits, and planters. Have a look at some of my favorite images from the shop and then check the portfolio projects that I have documented on their website SteelhouseMFG.com. I'm looking for more frequent clients so if you know of anyone that would appreciate and enjoy constant content let me know.

Magic and the Milky Way

September 14, 2015 Scott David Gordon

The Milky Way's Galactic Center in the night sky above McDonald Observatory, Fort Davis, TX.

Two years in a row I have taken a solo road trip out west to Marfa, Texas and the surrounding area for my birthday. This years trip was really magical. So much synchronicity and generosity. So many wonderful people and experiences. It made me wonder if I couldn't have a life like that all of the time. Was it just that I was open and able to perceive more than in my life at home? Was I actually just missing seeing the gifts of life around me everyday because of some perception bias or limiting beliefs?

“Searched for days for you out West
And I was greeted like a guest
Into the desert’s open arms
Finding not your childlike charms”

— John Fullbright "Jericho"

Well I'm still trying to figure that out and probably will be for the rest of my life. One of the ways I do that is by looking and sometimes capturing what I see. Here are some images that I made on this trip.

These panoramas were made with my iPhone. The west Texas landscape allows for far off views and beautiful storms.

While in town there was a dance performance, Secondary Surface Rendered, at Ballroom Marfa by Lower Left.

Playing around with Polaroid Film which is now made by the Impossible Project was fun. My main frustration is that you have to cover the image as it comes out of the cameras so that it is not exposed to light at all. That can be quite a feat on location, composing the perfect shot, with only two hands. I still like the results and it's a lot less predictable and controllable than digital.

Black Spanish Grape Harvest for Blissful Folly Farm

August 31, 2015 Scott David Gordon

When I tell people I am a farm photographer, often times I get a curious look. Maybe I should say agricultural marketing photographer, I'm not sure. My view is if you've never hear of such a profession that's great because there will most likely be less competition. It's a niche that I really enjoy and am determined to develop and expand.

The fact is that farms and vineyards are businesses that need images to promote themselves and share what they are up to just like any other. Farmers deserve and have earned my respect over the years. Fortunately, I have been in a position to witness to their hard work and also enjoy the fruits of their labors. Helping them to be more successful with the help of photography is satisfying and I feel that I am making a positive contribution to the overall good.

As fate would have it, I had an opportunity to photograph a grape harvest at a vineyard near La Grange, TX at the beginning of August. My first! In case you’re not aware, central Texas is booming with new vineyards and is continuously competing for wine tourism traffic with Napa Valley and Sonoma in Northern California.

Black Spanish Grapes do well in the Texas Hill Country, and this years harvest was a nice one. Thanks again to everyone that came out to volunteer picking grapes and to Blue Mule Farm and Roahn Meadery for making it all happen. Please share this post and, if you own a winery or a farm, I would be happy to pay you a visit and help you create some beautiful photos.

Cutting Sunflowers

July 31, 2015 Scott David Gordon

“Light-enchanted sunflower, thou
Who gazest ever true and tender
On the sun’s revolving splendour”

— Pedro Calderón de la Barca

Hill Country Lavender, Blanco, TX

July 22, 2015 Scott David Gordon

This past February I taught a farm photography class at the US Lavender Conference which is where I met Tasha Brieger, the owner of Hill Country Lavender. Tasha invited and hired me to document all of the activity at the farm, during the Blanco Lavender Festival, which included people cutting lavender, shopping, and generally just enjoying themselves. It was without a doubt one of the busiest days of the year.

Having never been to a lavender farm, I was unsure what to expect, but it turned out to be a great experience, and the many people who attended had a wonderful time. In the end, it was a lot of fun to document the day’s activities and, of course, the scent of the lavender was wonderful and relaxing the whole time. Below are some of my favorite photos from the day.

The farm is not open year round but if you are in Blanco you can find their great products at Brieger Pottery downtown or online.

Acres USA & Richardson Farms

June 21, 2015 Scott David Gordon

There is a great magazine that is published right here in Austin, TX and one in which I have been fortunate enough to work with on a regular basis. For over forty years Acres U.S.A. has been sharing the benefits of sustainable agriculture to a national audience. We started collaborating over a year ago and so far I have provided them with six covers as well as photos for several of their articles. This has been a wonderful opportunity for me to branch out from the photography of vegetables at JBG Organic, and has given me a reason to travel to other farms in an effort to expand my portfolio and relationships.

During my two trips out to Sand Creek Farm in Cameron, TX, I was introduced to dairy cattle, draft horse, and aquaponics, for last years livestock and homesteading issues. Next I spent some time with the students at Farmshare Austin for the young farmers issue. Most recently, I visited Richardson Farms in Rockdale, TX for this years livestock issue.

Here are the other five covers and a selection of cattle from Richardson Farms. My next blog post will be about my recent trip out to Blanco for the Lavender Festival.

November/December Farm Favorites

March 14, 2015 Scott David Gordon

Here I am getting a shot from up high, the first one in the gallery below! Photo by Montana Stovall

So I climbed on top of the tractor that Montana was driving and he got out and took a few pics. It was nice to have some images of me since I am usually the one behind that camera. Great shot too! What a sweet job getting to go to Johnson's Backyard Garden every week to photograph what I see.

Time to start posting on my blog again in the new year. More farm photos and interviews and studio shots of local artists are on the way. I'm working on a big plan for the next 1-3 years that is going to be amazing. Stay tuned.

My framed prints hanging in the Peoples Gallery, City Hall, Austin, TX.

There have been some pretty interesting things happening for me so far this year. At the end of January I taught a farm photography class at the United States Lavender Conference. It was challenging in trying to figure out what I could teach in the one hour time frame allotted for my presentation, but also very rewarding to learn about the community and lavender farming itself. I'm excited to continue working with them more and am looking forward to photographing the Blanco Lavender Festival, June 12-14, 2015.

A week ago was the opening for the Peoples Gallery at Austin City Hall where artwork by local artists is chosen to be on display for a whole year. My submission of three artist panoramas was accepted and they are now hanging in a third floor conference room(3002). The prints are of Patryce King, Graham Reynolds, and Maura Grace Ambrose, all of whom I have interviewed on this blog.

Now enjoy some photos from the last few months of 2014. January and February's photos are not far behind along with many new projects and interviews.

October Farm Favorties

November 1, 2014 Scott David Gordon

Harvesting radishes at Johnson's Backyard Garden, Austin, TX.

Here are my favorite images from the month of October taken at the farm where I work as a photographer, Johnson's Backyard Garden, in Austin, TX. Each week I visit the farm to capture its evolution and growth and they share the photos with all those who subscribe to the C.S.A. and patronize the markets, grocery stores, and restaurants where the produce is sold.

Graham Reynolds

October 16, 2014 Scott David Gordon

Graham in his home studio in Austin, TX.

Considering what a busy man he is I am very appreciative that Graham Reynolds took the time to answer a few quick questions for me. The Austin based composer and bandleader is incredibly prolific and one of the hardest working people I know. Over the years I have seen his work live, alongside local collaborations like PowerUP and The Intergalactic Nemesis, and over major motion pictures and live theater. I'm always impressed with what Graham has accomplished in his life, which is why I wanted to present a panorama of him in his work space, and to also get and give a glimpse of where some of the magic happens.

The panorama I created of Graham is currently being exhibited in a group show at Davis Gallery here in Austin through this Saturday, October 18th. This is the final interview as part of a series getting to know the subjects of those images.

SDG: We met for the first time many years ago through our close mutual friend Jason Brenizer. Back then you had a job that was not related to music to support yourself, and now I believe you are making and playing music full-time. What do you feel were the key ingredients that took you to where you were then to where you are now?

GR: There were a million things that had to work out but of the things in my control I’d say it was saying yes to as many things as I could and walking through each door of opportunity. I never knew what would lead to what, but little by little things came together.

Photo by Leon Alesi at Forklift Danceworks production of The Trash Project. — Photo by Leon Alesi at Forklift Danceworks production of *The Trash Project*.

SDG: When did you first realize that you wanted to be a musician? What did you do to make that a reality?

GR: I think it was a gradual decision but music was my chief passion for most of my life. I just kept making music and kept trying to learn. And I networked a lot.

SDG: What drives you and keeps you motivated, inspired, and focused on your goals?

GR: Keeping things new, exciting, and fresh and constantly discovering. I do that by working with different collaborators, choosing different subjects to study and musically reflect on, by listening to other people’s music, and by sitting down, thinking and planning.

Graham Reynolds' Marfa Triptych, Part One - The Uninhabited

SDG: When you think about what your life and work will be like in the future what do you imagine?

GR: I imagine expanding what I’m doing, executing at a higher level, and continually learning.

SDG: On Oct 4th you performed part two of your The Marfa Triptych: Three Portraits of West Texas at The Overlook at Mimms Ranch. What was the experience like and when will the third part be performed?

GR: The third part won’t be for at least another year, probably two. This most recent concert was an amazing experience for me. In the middle of the desert, no power, no anything but a round bench for the audience. I live scored the sunset into the moon rising and the stars coming out, surrounded by the Davis Mountains and the Chihuahuan Desert.

Graham Reynolds at Mimms Ranch, October 4, 2014. Photo by Jennifer Boomer.

SDG: That sounds like it was an amazing experience for you. Is there anything else coming up that you would like to mention?

GR: I’m always working on a million things but a few are a new ballet with Stephen Mills and Ballet Austin, a Pancho Villa chamber opera, and a country album.

SDG: Graham, thank you for sharing that with us. We will be on the look out for all of those and more. You can hear an interview that Graham did for Marfa Public Radio the day of the part two performance here. Below is the album The Difference Engine, which is one of my favorites of his. Check out his website for upcoming performances, news and updates.

Graham Reynolds loves to explore narrative in his work. This tendency makes him a natural fit for the film, theater and dance work that form one of the cores to his composing career. In fusing a loose concerto format with the story of Charles Babbage and his invention the difference engine, Reynolds' composing voice finds itself in a work that is intense and driving, beautiful and intimate, personally expressive and broadly accessible all at the same time. Developed over a course of years, the initial ideas for each movement were introduced and inspired separately before being woven into this one piece. The musical onslaught of the opening movement came to Reynolds during a lecture by LB Deyo on Babbage and his work, inspired by the ferocious pace of both Babbage's thinking and the calculating speed of his invention. The fourth movement was developed in a very different form for the Rude Mechs play "The Method Gun", now touring the country. The fifth movement started as a solo piano piece, an Austin Museum of Art commission, in response to the work of Sol Lewitt. Reynolds joins other alt-classical voices in a 21st century approach that is no longer in rebellion against tonality and melody, nor desperate to prove their validity through focus on a "unique" extended technique, while folding 20th century ideas from clusters to modal harmonies to polyrhythms into a broad vocabulary. The completed concerto "The Difference Engine" premiered on February 6th, 2010 with a 35-piece string orchestra in a Golden Hornet Project performance at Ballet Austin’s Austin Ventures Studio Theater. Soloists Leah Zeger on violin, Jonathan Dexter on cello, and the composer himself on piano fronted the debut, with parts written specifically for their skill set and personal voices. Those voices were then captured for this CD. Not fully realized in his lifetime, the difference engine was the masterwork of 19th century inventor and mathematician Charles Babbage, an attempt to create the world's first computer. A remix of each movement forms the album's second half with contributions from DJ Spooky, Octopus Project, Grammy-nominated producer Adrian Quesada of Grupo Fantasma, Golden Hornet Project's Peter Stopschinski, and finally one from the composer himself.

Night Drive Single and Tour

October 14, 2014 Scott David Gordon

Brandon Duhon and Rodney Connell of Night Drive.

Exactly one year ago I had just returned from being on tour with my friends band Night Drive. Since then the band has not slowed down and has been releasing some really great new songs and videos. Their most recent being the single Young Rivals, which has been described by Noisey as the "soundtrack to a never-ending dance floor make out." There was no dancing or making out but I did enjoy taking pictures of the guys for their new release and am hoping to catch them live for a few dates on their next mini tour starting on the 24th. Have a listen and make a point to see them live. You will not be able to stay still.

Heart on Hype Machine http://hypem.com/track/271q7/Night+Drive+-+Young+Rivals+(Original+Mix) Night Drive - Young Rivals Release Date - October 7th Sound Control Records SCR001 www.nightdrivemusic.com/ www.soundcontrolrecords.com iTunes https://itunes.apple.com/gb/album/young-rivals-single/id925408788 Amazon http://www.amazon.com/gp/product/B00NLKHLXK/ref=dm_ws_tlw_trk1?ie=UTF8&qid=1412371021&sr=1-2 Google Play https://play.google.com/store/music/album/Night_Drive_Young_Rivals?id=Bc4ztlvdugwq7xttl2hqkzkp6hi&hl=en Licensing & Publishing: Chuck Costello chuck@soundcontrolrecords.com Booking: Benjamin Vera ben@soundcontrolrecords.com Press: Nancy Lu nancy@fancypr.com

10/19 – Austin, TX – Rain Live
10/24 – Dallas, TX – Club Dada*
10/25 – Austin, TX – Empire Control Room*
10/26 – Houston, TX – Fitzgerald’s*
10/28 – Little Rock, AR - Juanita’s Cafe and Bar*
10/29 – Memphis, TN – Newby’s*
10/30 – Nashville, TN – High Watt*
11/21 – Austin, TX – Cheer Up Charlies
11/28 – Houston, TX – Fitzgerald’s

*With Mansions on the Moon

September Farm Favorites

October 4, 2014 Scott David Gordon

Brenton Johnson, the owner of JBG, holds some freshly picked radishes.

Every month from now on I will be featuring my favorite photos from the last month at Johnson's Backyard Garden. If you are not in the know, I have been employed as JBG’s personal farm photographer for the last four years. Every week I try to capture a range of images so that the faithful and loyal customers of Johnson’s can follow the latest developments at the farm. The images are used on their blog, social media, email marketing, and advertising. It's a great job and I am very grateful to have it.

Paloma Mayorga

October 1, 2014 Scott David Gordon

The painting she is working on in the panorama. Bone is the new pink  2013  Oil on canvas. — The painting she is working on in the panorama.
Bone is the new pink 2013 Oil on canvas.

Renegade Dove, the alias of Paloma Mayorga, fits her quite well I believe. She appears pretty mild mannered and shy on the surface, but underneath that surface things are churning and percolating into the world. Paloma is the Spanish for the word "dove". Her work takes risks and pushes limits, which I admire. When I think of an artist I think of her. She infuses her work with a great deal of integrity, clarity, and is not afraid to show her true self. We met in 2012 at Coronado Studio, as she was working on her Serie print titled Senorita Juice. Since then she has taken on the job of Assistant Director at the Serie Project. Because I am still photographing the artists who have residences at the Studio, Paloma and I see each other quite often.

The panorama I created of Paloma is currently being exhibited in a group show at Davis Gallery here in Austin until October 18th. This interview is part of a series getting to know the subjects of those images.

SDG: When did you first realize that you wanted to be an artist and then what did you do to make that a reality?

PM: As a child I was artistically inclined, always drawing, crafting, and arranging things to my liking. However, it wasn’t until I took a drawing course in college and started studying artists throughout history that I realized I could build a career creating art. I continued to take all of the studio courses the art department at Southwestern University offered - I even took some courses that didn’t count toward my degree because I had “too many” studio art credits - and eventually changed my major to Studio Art from Animal Behavior. I also took a good number of Art History and Philosophy courses which really opened my mind to different ways of thinking. By taking these classes simultaneously I pushed and stretched my personal boundaries, beliefs, politics, ethics, aesthetics...everything! I tried to be in the studio as much as possible and really take advantage of the resources, materials and opportunities I had readily available.

Paloma working on her Serie print in 2012 at Coronado Studio, Austin, TX.

SDG: You seem to experiment with a lot of different mediums? Tell me about how you work and create?

A figure study from the life drawing class with Vera Claeys.  See the previous post. — A figure study from the life drawing class with Vera Claeys. See the previous post.

PM: I like to fluctuate between mediums because I find that I tend to take on an overwhelming amount of work with each project, so much so that I am left feeling completely exhausted in the end. Don’t get me wrong - I really love working with each medium I choose; I just feel that I find a sort of mental stability when I go back and forth between them. It’s kind of like when you eat so much of something that you grow sick of it and then feel like you can’t have it anymore for a while. I like working this way because I feel like I immerse myself in my work completely and leave all of my energy in it.

SDG: You have a new photography exhibit called Cruelty Free that opened recently at the Women's Community Center of Central Texas. The work is very raw and revealing. How was taking those pictures different from painting and drawing and why did you choose that particular medium for that project and subject matter?

PM: That particular project is very exciting for me because it is primarily a series of collaborations with women that are very close to me. Collaborations are so interesting to me because it is truly a meshing of ideas that allows people to connect on a much deeper level to each other and to the concept at hand. I also feel that photography lends itself well to the idea that inspired the exhibit, which is to look at ourselves in a cruelty free way. I feel that photographs are very different from any other medium I work with because I am able to capture something as it exists in one brief moment in time. This is particularly important for that exhibit because my intention is to point out that while the subject matter, in this case the human body, remains the same, our ideas about our bodies and what constitutes as beauty can and does change over time.

SDG: The manifesto on your website is really great. To what do you attribute your perspective and passion for the issues you speak about?

PM: I think that I have been given a series of unique opportunities to formulate a perspective of compassion and inclusiveness, and to speak up against the injustices I see happening is a privilege, when it should be a right. The concepts I speak of in my work and manifesto are issues that affect me personally, as a woman and as a resident of this planet.

SDG: What drives you and keeps you motivated, inspired, and focused?

Rebirth IX  2014  by Paloma Mayorga — Rebirth IX 2014 by Paloma Mayorga

PM: I feel like I have a responsibility to leave the world in a better state than it was when I came into it. I see the potential we have as human beings to live in a way in which we respect our planet, love ourselves and one another and I hope that with time my work will be a catalyst for change in society to do precisely this.

SDG: When you think about what your life as an artist will be like in the future what do you imagine?

PM: Currently, humanity is responsible for so many things that are destroying people, animals and our environment. I am a believer that when people understand the power they have to change the world, they will take action to make it a better place. Through my work I am hoping to bring awareness to people of the power of their thoughts and actions. I look forward to the day that my work reaches larger and diverse audiences so that it serves to inspire people to make more compassionate decisions.

SDG: If only more people had the same intentions and outlook about the world. That definitely sounds like a call to action. Inspiring people to be more compassionate could go a long way to alleviate many of the personal and public conflicts we are facing. Thank you Paloma for all the great work.

Paloma's photography can be seen by contacting the Women's Community Center of Central Texas. It will be on display at the center until November 21st. The center is continuously looking for volunteers and, most likely, they will be providing a lot of benefit to women in the Austin community, so definitely check them out!

“My work is a result of my quest for truth. Truth about who we are and the ways in which we relate to one another. I believe that by embracing the energy that has embodied itself into our own human form, we can generate more meaningful relationships with each other, with the earth, and with life itself.”

— Paloma Mayorga

Farm Photography on Feature Shoot

September 30, 2014 Scott David Gordon

Tomato cages are staged and ready to be installed over young determinate tomato plants at Johnson’s Backyard Garden, an organic vegetable farm in Austin, TX.

The photography website Feature Shoot just curated an online group show of farm images and they chose this photo of mine above to be included in a really nice selection from farms all over the world. This image was also used last year in an article about growing tomatoes in Austin Monthly Magazine. Xian, the man pictured, does not work at the farm any longer. He has since moved to Louisiana with his family to run another farm, which I suspect he is enjoying very much. What a treat to be in the company of so many great photographers.

Group Show: 42 Photos of Life on the Farm

Vera Claeys

September 6, 2014 Scott David Gordon

Vera modeling during a life drawing session in east Austin.

Paloma Mayorga gets the credit for introducing me to Vera. We work together at the Serie Project and after I photographed Paloma in her studio she invited me to this life drawing session. Her studio panorama will also be a part of the Davis group show and her interview will be posted next week.

What I like about this scene the most, and what I wanted to convey, was the contrast between the artists sitting below the model, staring intently from the darkness as they captured her form on paper, and her isolation in the spot light, twisting into different poses. This might not seem similar to my other images with multiple instances of the same person, but if you look closely you can see that there are two distinct versions of her present. The print by Agave Print has really rich blacks and a nice even tone. Thanks again to Peter Williams for making all of the prints for my show. It was really nice working with him.

The panorama I created of Vera will be exhibited in a group show at Davis Gallery here in Austin from September 6th until October 18th. This interview is part of a series getting to know the subjects of those images.

SDG: What do you like about modeling and how did you get into it?

VC: I began modeling cos I wanted an additional creative outlet, something that forced me to interact with people. I was taking a year away from university. I had no idea what I wanted to study and became deeply frustrated with my life, so I left school, got a part time job at Starbucks and began to work on projects.

SDG: Is being photographed, nude or seminude, much different from standing in front of a life drawing class?

VC: The only difference I find in being photographed versus standing for a life drawing is that standing takes much more endurance. I have to not crawl inside my head and sometimes it happens. Perhaps I think I am breathing too strongly or daydream of the possibilities of me tumbling over. When I am being photographed, I am able to be more fluid in my movements and there isn’t the pressure of interrupting someone's drawing.

SDG: That's very considerate of you. Have you always been so comfortable with nudity?

VC: Yes. I was raised by a mother who taught me to never be ashamed of my body; everyone has one.

SDG: How fortunate that you had that kind of grounding growing up. Seems like it is more likely these days to get messages about being perfect and weight and attaining some ideal for others benefit. With respect to modeling is there a fine line between empowerment and objectification with nude modeling or is it something else altogether?

VC: I think the line should be determined by the model. I’ve never put myself in a position where I didn’t believe I had full control of the situation. I can’t help how people view what I create. Whether people want to objectify me is entirely up to them and does not affect my ideology of self-empowerment.

SDG: I'm glad to hear that. Reminds me of the idea of never taking anything personally because everyone's perception of the world is unique to them and has nothing to do with who we know ourselves to be. Our society does idealize youth and beauty though. Do you see that as a problem or a good thing?

VC: Society idealizes youth and beauty cos we allow for it to. Ultimately, consumers are in control of what the media chooses to exhibit as a fad. There is beauty in youth, there is beauty in age, and there is beauty in honest vulnerability. It’s only an issue if we accept youth and beauty as truth.

SDG: You are also a writer and are going to school. Tell me about that?

VC: I’ve been writing since I was kid. I wrote most days of my childhood and I write most days presently. Even if it’s just one sentence, I make it a point to reflect and respond to my surroundings. I am a full time student who attends Southwestern University, I commute from Austin four days a week. I study both Spanish and Communication Studies. I work three jobs. I’m a receptionist at a spa, a host at a restaurant, and an events manager at a theatre, and I love all of them.

SDG: That sounds like an incredibly busy schedule but it appears that you are enjoying life and have come back from your break with a good idea of what you want to do. Thanks for sharing something that you wrote. I also try to write everyday and I think it is a great way to get things out of your head and the doing of it counteracts the relentless critic for me. It also helps me find clarity, insight, ideas, and the truth of where and who I am. Even writing "I don't know what to write" over and over will lead to something.

“Gustav, dear.

He always appeared in the dark, with his briefcase and floral
knapsack
Holding his rosary and playing mother and yet he never choked.

And what do we say about him? Dear Gustav, dear friend. Never
leave. We can be neighbors and I’ll tuck you in. Your flannel
sheets, the red ones I told you not to purchase. They are
infesting your room with lint. You say its economical,why
purchase carpeting, proper? And that’s what I hate! Your silly
illogical responses. Illogical to me and I’m your neighbor.
The one who tucks you in.

Oh Gustav. When you die, I’ll wear your clothing and tell
everyone how I cared for you. How you took me to the cemetery
to cheer up. “None of us are getting out of here alive”, you’d
say. I know.

You asked me to leave you in your red flannel sheets when we
put you away. It made me uncomfortable really, how prepared
you were and how fucking pristine you looked when I found you.
Did you really moisturize right before? You are wearing death
well neighbor.”

— Vera Claeys

“I love working with Vera! She is my favorite model, and I’ve painted her more than anyone else. ”

— Jane Radstrom

SDG: You have worked with Jane Radstrom quite a bit. What was that like?

VC: Working with Jane was organic and warm. I always felt like she just trusted me. She let me be silly and light or sultry and strong and that is incredibly empowering. I’ve developed so much since the first day we met and enjoy seeing the dichotomy of our first portraits together versus the ones she is currently working on.

SDG: Jane is great to work with. She is one of the first artists that I photographed in their studio. Well I am very glad to hear how empowering modeling can be and I do think you are very good at it and suspect with your determination you will be able to do whatever you put your intentions towards. Thanks for taking time out of your busy schedule to answer these questions and all the best to you! Here is a link to Vera's website.

"Mid Century Modern" Pastel on Paper 2013 / 45" x 51" by Jane Radstrom

Patryce King

September 1, 2014 Scott David Gordon

Patches with her sweet grand piano at King Studios, where she conducts her lessons.

Patryce King, also known as Patches, is among many other things a pianist and piano teacher here in Austin. The first time we met was after her presentation during PechaKucha Night #16 on March 11, 2013. She played the piano with such passion and intensity while telling her life story. It was very moving. All of the presenters were wonderful, and I highly recommend attending one in your own city if you can. Jan Heaton and Graham Reynolds were also part of the lineup, and I have photographed both of them. Graham's photo will also be included in the group show at Davis, and I will be interviewing him soon.

The poster for PechaKucha Night #16 created by Pentagram.

When I found out that Patches teaches piano my unfulfilled childhood dream of learning an instrument seemed like a possibility, and thankfully the timing was right. The lessons were a lot of fun, and getting to practice on her gorgeous grand piano was quite a treat. When I told her about my panorama project she was immediately on board to be a part of it.

The panorama I created with Patches will be exhibited in a group show at Davis Gallery here in Austin from September 6th until October 18th. This interview is part of a series getting to know the subjects of those images.

SDG: When did you first realize you wanted to be a musician?

PK: There was never a realization. To this day it feels funny to be called a musician. I think to myself, Oh, that's what I am? I am a musician. I guess that's what other people think I am too! A parallel question...When did you first realize you wanted to be human? I guess I've always been a musician.

Accompanied by her nephew Brayden, Patches King plays her baby piano at the Baylor Street Graffiti wall.

SDG: What did it take to make being a pianist a reality?

PK: The reality of what it took to become good hit in high school. It's one thing to kick around a few chords on the piano, it's another to devote time to practicing advanced repertoire. My grade school and high school piano teacher, Beth Dixon, was masterful in her approach. She made sure to give me music that was always just a hint too hard for me. She very subtly stretched my musical sensibility every week for 10 years. She knew what I was capable of doing way before I did. I never once felt surprised by my own growth as a youngster. My progress was certain and steady. I wanted to be good. Get good. I was competitive. Music was also the funnest outlet for me completely taking over my intellect and curiosity. When recruiters from college called Mrs. Dixon's house during my lesson time I knew music was a real vehicle for me. You mean, these colleges are going to pay me to go to college and all I have to do is what I love most? I was sold. It was official. I was destined to be a musician.

SDG: How does teaching fit in with your career as a pianist?

Patches with Lila, Ada, and Andrew Johnson after a piano recital by her students in 2013.  Their dad owns the farm where I work as photographer. — Patches with Lila, Ada, and Andrew Johnson after a piano recital by her students in 2013. Their dad owns the farm where I work as photographer.

PK: Teaching piano is one of the pillars of my life. Without it my performing would suffer. Just last week a student said after summer break, "Look, Miss Patches, my feet can touch the floor. Now I'm going to be amazing because I can use the pedals!" I get to be her musical guide. For two years her feet dangled and now she gets to use the pedals! This year at King Studios, my private piano studio, I have 28 private piano students. There are few things I love more than watching a student grow, learn, struggle. There is a spark in your spirit when you're learning. I get to experience 28 different versions of that every week.

SDG: What drives you and keeps you motivated, inspired, and focused on your goals?

Patches at work.  Photo by Eric Goff — Patches at work. Photo by Eric Goff

PK: I am motivated by the progress of my students. I am motivated by other great artists. Young and old. Famous and not. Mostly not. It is such a discovery defining what works. I never give up striving to find the best way for my teaching. Never. I'm constantly asking questions...How can I help my student play this piece to the best of their ability? How can we most express the intent of the composer? How can we be more contrasting with our dynamics? How can working hard on this piece contribute to the life of my student? I am inspired by the ah hah moments and the struggle. After 30 years of playing and 20 years of teaching the only way for me to be decent at all is to fall. Over and over. The good news is that I've picked myself up 4 million times, so my approach is actually affective. To stay focused I meditate, I pray, yoga, boot camp, and walk Stanley the wonder dog. Journaling the junk in my mind has become a necessity. In order to guide my students and myself I have to burn the shit in my mind. The beat myself up talk. I write it all down. Daily. At least 3 pages of it. This is a practice suggested by The Artist's Way. Focus. Having my mind aligned with God helps me move from my soul. In my actions and my words. When in right relationship with your higher power there is this strong pull. A pull from your heart not your head. Your soul which I believe sits smack dab in the center of your chest at home in the hollow of your ribs. Listen there. That hollow home holds the answers for my life and yours.

A friend of mine told me a story once. After meditation I let him know I was feeling unsettled. He said, "You are like a monkey in the way you Love God. You are clinging to Him. God wants so desperately for you to surrender so He can carry you like the way a mother cat carries her kittens." Boom. Good visual. I'm not a huge cat fan so I just imagine I am a little lion cub carried by the nape of my neck. When I'm in the flow of God's grace my life is absolutely blissful. And I'm more focused. There seems to be plenty of time and a steady stream of synchronicity.

SDG: Reminds me of the monkey mind that they talk about in Buddhism. It's all about letting go. So you are one of the most positive and happy people I know...Has it always been that way and if not what changed?

PK: Oh my. Happiness. Did you know that researchers approximate that 87% of our thoughts are negative, self-destructive, or undermining? 87%. Thank you, Scott for this question. You got a glimpse of my optimism the summer you studied piano with me. That was fun! Are you practicing?! Let me be very clear on my attitude practice. I am indeed an optimistic person. I believe that optimism is a way of confronting problems, a method for coping with any challenges. At any given moment you can go toward the light or the dark. I choose light. Have you seen the movie Life is Beautiful? I'm that guy. I am constantly going toward the good. It's a part of my protection. An armor if you will. I can't hold or handle the hurt. It actually makes me sick. I come from a long line of depression and alcoholism. Generations of these diseases on both sides of my family. These two diseases are often linked to each other. I know without a shadow of a doubt that the genetic make-up of alcoholism and depression lives in me. My medicine for my genetic disposition is more love. More joy. More patience. More gratitude. More grace. More music. To keep from my own self-absorption I give more love and serve more people. I have prescribed this for myself and it is FREE! Now, back to happiness...when you have the courage to take personal responsibility for your actions, you are going to be happier. When you say sorry and are genuine in your attempt to make things right you are going to be happier. When you say Thank You again and again you are going to be happier.

An impromptu Patches performance on Lady Bird Lake. Talk about playing outside.

When you play outside, eat dinner with your friends/family, go swimming, practice piano, do Yoga, teach children, sing, you are going to be happier. I dare my consciousness to not let me live by being a jerk in my brain! I'm just that competitive. I'm one of those weirdos who talks out loud sometimes and I will say to myself... Self, nice try. I'm not buying it. Wanna know why? It's not the truth. The truth is that I am a bright light destined for greatness. We all are. Go away you googly bastard. I am the Love and Light of God! So, you see this is a part of my practice. In the Jewish Faith they talk about "soul corrections." I love this. In this lifetime I get the chance to scrub this one and only soul. My hope is that it's shinier for the next person to carry. Has it always been this way? If not what changed? Life experience, the cycle of the moon, nutrition, relationships. These are constantly changing elements of our daily lives. I am determined to live as freely as possible in the cascading nature of our world. Happy.

SDG: Happiness is a choice and despite the obstacles you are making it a reality. I can relate to the idea of advancing your soul for the benefit of this life and the next. When you think about what this life will be like and your future what do you imagine?

Led Zeppelin: All My Love (With Lyrics)

PK: I imagine my nephews having families. I imagine my parents in their rocking chairs on the front porch. I imagine getting an advanced degree at UT. I imagine leading a team of people toward more global peace. I imagine I will find love. True love. Not you are one sexy pianist kind of love. The real kind. Someone who can caress my hand while simultaneously making me laugh. Someone who is grounded, good, and God fearing. I want to love a man who understands my equal parts fascination with Black Sabbath and Johannes Brahms. I want to love a man who is just as passionate about being alive as I am. I want to know him, feel him, meet him. Short answer: Learning and Love. That is what I see for my future.

SDG: That sounds awesome. Anything coming up that you would like to mention?

PK: 1) I am hosting a practice challenge starting TODAY September 1, 2014 ending May 17, 2015. May 17 is my beloved brother's birthday. Hank is the hardest working man I know. There are 259 days between tomorrow and May 17, so my practice challenge is labeled #team259. I already have two dozen teammates and you are more than welcome to join.

Rule 1: You must tell the truth. Honor system here.
Rule 2: You must practice 30 minutes a day.
Rule 3: No silliness. You are not allowed to learn how to blow bubbles!

John Lennon said it best-A dream You Dream alone is only a dream. A dream you dream together is a reality. Yea, John! I'm practicing piano. WHEN you get your 259 days in, I'm giving you a GOLD medal. 258 days, Silver. 257 days, Bronze.

Let's do this!!!

2) Drum roll please (bludududududududduetc...)

I will be hosting a KickStarter campaign January 2015 to provide funding for the release of my debut CD. CD Release Party will be July 31, 2015 at Church House Studios in East Austin. My engineer is Dave Boyle, recording engineer for Robert Plant, Tosca String Quartet, and many other locally based Texas musicians. You can expect works of Brahms, Chopin, Gershwin, Haydn, Mozart and a couple surprises! Save the date JULY 31, 2015. It's a Blue MOON!

Thank you Scott for these stirring questions. I gave it my all!

SDG: No, thank you for taking the time answer them so completely and honestly. Very uplifting! That's exciting news about the Kickstarter. I will take your challenge and commit to mediating for fifteen minutes twice a day. Thanks for the challenge and the lessons and for everything else you do to make this world a better place. Patches Rules!

Jeff Davis County Thundershower

August 18, 2014 Scott David Gordon

This past weekend I traveled to San Angelo and Marfa, Texas for my 40th birthday. I would have gone strait to Marfa but I had previously discovered a few artists in San Angelo that I wanted to meet and photograph. I will be posting about them soon.

My solo birthday roadtrip was really fun and I highly recommend visiting Marfa. It's a really small town, and it's kind of out in the middle of nowhere, but it has a lot going for it. There are also quite a few towns around Marfa that have their own reasons to visit. More about them later. So I was taking a scenic drive east towards Fort Davis on 166, after visiting Valentine, and saw this amazing storm in the distance. The landscape out there is so vast that you can see for miles and miles. When you live in a city its pretty rare to see an entire rain storm, so I was in awe. How could I photograph this properly? Just so happened that there was a rest stop at the bottom of a small hill covered in boulders right as I had that thought. I climbed up above the tree line and had the best seat in the house.

You can see images from my trip and from my life for the last four years on my itakepictureseveryday.com blog.

Lacey Richter

August 13, 2014 Scott David Gordon

Lacey Richter and I met when she was invited to create a Serie Print in 2011 at Coronado Studio. I was and still am photographing the artists that come into the studio to make fine art serigraphs. It has been a great opportunity to meet a lot of wonderful artists from all over the world.

The late, great Sam Coronado helps Lacey with her Serie Print in 2011 at Coronado Studio.

The panorama I made of Lacey last year will be exhibited in a group show at Davis Gallery here in Austin this September. This interview is part of a series getting to know the subjects of those images.

SDG: When did you first realize that you wanted to be an artist and then what did you do to make that a reality?

LR: I have always been creative…ever since I was a little kid, though I think most of us are naturally that way as we are little….it can become a struggle not to hide this creativity as we get older, meaning we become less in tune with or expressive, at least willing to be, of our creativity. We become too self-conscious and worry what others might think.

Lacey working on her Serie print in 2011.

I remember loving to draw fruit bowls when I was little, in colorful markers. I always did the same fruits: yellow banana, spiky pineapple, purple grapes, red apple with a shiny spot on it (this shiny spot/indication was simply an askew square drawn near the top of the fruit), and a pear. An occasional strawberry or two might make its way into the mix but not usually. I recall winning a blue ribbon for one of my fruit drawings at the County Fair held annually in conjunction with the 4-H Rodeo & Stockyard show in Kerrville where I grew up. Perhaps I should go back to fruit bowls.

I also would sometime draw portraits of my family members and relatives…my Paw-paw in his wheelchair. My Granny. Even myself…with birds. ( I remember writing a book with illustrations about this girl who found a bird nest in her back yard, and one of the birds fell out or something, and she tended to it, and it got big and strong and flew, but this little girl, who basically was me, was fascinated with this little winged-creature. Birds have always stuck with me; they have appeared in my dreams and certain series within my art. It’s a shame they became so damn trendy while back.)

In 1st grade, I was pictured in the local newspaper with a few other friends and kids, as we won awards for an art contest. I remember I was awarded a marker and watercolor set and drawing pad. I likely drew more fruit on it.

As far as becoming ‘a real artist’…I’m still deciphering what that means. I know I am meant to lead and live an artful, expressive, unique, and richly-colored life. I will say when I decided to give the art thing a real shot, I took up smoking cigarettes and drinking black coffee….all for one day. A rainy one at that, which only lent itself to the poetic artistic notion.

Being exposed to art and materials at a young age, receiving encouragement from teachers, taking classes in college…working in an art museum for several years, having the opportunity to have my first solo show at a gallery in town, showcasing my work in other countries and creating work in them…all these influenced me and lead me to my personal art pursuit, and continually does. Also having my first actual studio in which to call my own and participating in artist community here and beyond. I am fortunate. It is easy to not recognize milestones or continual growth as an artist, a human being at that. I know I can often, not only take for granted amazing opportunities at my disposal, but fail to realize the one’s I have seized and grown from as a practicing artist. We live in such a productive-based world and society. As an artist, part of how we are built is that we like to observe things…take them in...often slowly and leisurely as to sit with them and truly experience them. This is vital to the creative process and to the human spirit I believe.

SDG: You seem to experiment with a lot of different mediums? Tell me about how you work and create?

LR: I like materials. Different textures. Qualities. Sensibilities. I look at them sometimes as fashion or accessories…I like to use variety and multiple ones to exude the right ‘ensemble’ or essence within a piece, as well as in my waking /walking outfits! *I do like fashion and outfits, especially as an artist because you have the go-ahead, and almost the required expectation, to really use up that ‘artistic license’ in how you dress…I like and enjoy this! We are all walking canvases…artist or not, and I do feel life, art, food, and CLOTHING should be CELEBRATED !!

Painting is my background; I used to paint in oils, as I loved the lushness and juiciness of them. I still use oils from time to time, but I also use acrylics – less fumes, etc. as I have a smaller space…though it does have a cool vintage turbo-looking vent. I also use dry materials such as pastels and charcoals; I like the grit and intentional mark-making quality within these. Additionally I will use electric tape, as I find it both visually necessary at times, as well as sexy and intriguing. A lot of my work can have a feminine nuance to it…so at times I like to break that with some masculine or raw materials…like scrappy found objects as well, many from construction site dumpsters. I also often utilize shiny things and metallics, as well as anything MESH - - mesh stockings and fabrics, rubber gridding, metal lattice…I am very drawn to mesh and gridded materials…perhaps because they too are both feminine and can be delicate, like myself and my name….but also because they allow for one to see through them….they reveal but not overly…in the same vane, they invite one to see what’s under them…they do disclose.

I like creating two-d works, such as paintings and mixed-media pieces on paper – this allows me to get my gestural mark-making in, along with occasional collage (I will sometimes cut up my leftover wax paper paint palettes and incorporate them back into the piece, either with paint or sewing them with red or gold metallic string). *I use a lot of red, black, and gold…I wear a lot of these colors too.
I also like to create installations, often with tactile materials such as fabric, mesh, and found objects…and arrange them in a way that almost creates a tactile painting of these physical objects and materials. In essence, I am ‘painting’ with these non-traditional materials. Organic, rounds shapes make their way within the composition, as well as fluid, jarring, and gestural lines…with varying textures and dimensions. I can also fully incorporate color and sheen within these installations, which I have fun with; I like being able to be spontaneous within my work but still mindful. That is a lot of how I work as an artist…..I am intuitive and reactionary. A lot of my internal emotions and tendencies/propensities naturally come out in my work…kind of like musical vibrations or chords in a song…I like music that compels and swells….kind of like the receding tide…it builds up..comes forward and then recedes again. Continual movement. A lot of my work perhaps is based on movement – energy, that we/I repress and also activate outwardly through creative expression. A lot of the time….I think I kind of let things…creative energy build up within me…until finally, it breaks and floods out onto the canvas, or paper, or plywood….in paint, and color, line, form, texture, words and notes on my guitar as I write and make up songs… …and also in actual MOVEMENT of my body.

I recently have been creating video performance works…I call them that - - they basically are me filming myself in varying spaces, all that have caught my eye and intrigue….most of them being semi-private and/or sacred. Houses that are being built/under construction, church sanctuaries, and even horse-stables. I go into these spaces, with specific ensembles on…most always form-fitting and including fishnets…and I simply dance, like no one is watching…and I move my body…like the lines and forms I make on canvas/paper, and I let all that is within, that energy, graceful, poised, seductive, or frenzied/chaotic out. It is an Outlet for Expression. I don’t get stuck in my head like I can within the walls of my studio and pieces I’m working on; instead I just move and open to that movement within me. And it feels good, and it is strong, and I Like it; I enjoy it ! I am Empowered by it!

There is a physicality to it. There is also a femininity and sensuality to it. And there is a Rawness to it. More and more, like the construction sites and materials, the electric tape, the gestural even guttural marks I make…the spaces within that I dance; there is all a rawness to them, and I am attracted to this. Likely on a very deep and real, interior-level…perhaps I want pockets and ‘rooms’ of my interior to be seen and received authentically, and that is why I am partially attracted to the construction sites, as they are raw and in process…under construction. To be seen and put yourself out there…this is vulnerability. It takes true vulnerability to be an artist. Ultimately, as a person and an artist, I want to be-seen-in-my-stripped-down-state-and-know-I-will-be-accepted-even-prized-and-treasured-but-this-is-risk-cause-we-live-in-a-strange-psuedo-connected-vulnerable-on-the-surface-smoke-and-mirrors-world…in a large degree.

So yes…the dancing movement thing comes naturally and I feel and believe is a further expansion, both physically, figuratively/literally, and expressively, as to what I was/am already doing within my two-d works and installations as well.

Jumenterie de Rieve in the French village of Pompadour.

Most recently, during the entire month of June, I had video work showcased in France at a beautiful and historic equestrian estate where they breed and raise racing horses. I had the privilege of visiting Jumenterie de Rieve in the French village of Pompadour last fall after participating in an artist conference in Berlin, where upon I lead a collaborative workshop on recycled-mixed-media, which was a truly amazing experience and opportunity within itself (*Wim Wenders, the prolific German film maker, was one of the panelist/speakers at this conference – I got to meet him and visit after, and I gave him my card. I also extracted a golden nugget of wisdom out of him in that meeting; you can ask me about it next time you see me.)

I filmed in the sanctuary on the grounds of the estate (I had already been filming some here in Austin at my own church, as well as trespassing onto other sites..sneaking in and tap-dancing in front of the stain-glass windows…in fishnets no less) , which was quite historic, and then I had the chance to film myself inside a horse stall….with, in fact, the horse himself, a true French Stallion ! A documentary is being filmed about this very place, and I may yet have some footage within it.

Needless to say, the work that occurred within that space and moment in divine time is special and continually revealing itself to me.

In the fall, I will be having a solo-show at a unique art venue located on the East-side, known as TEST-TUBE, promoting experimental works, including performance and video. I will also be showcasing video works during this year’s EAST AUSTIN STUDIO TOUR, my fifth year-running, at my studio at ARTPOST, a community of talented artists tucked along deep East Cesar Chavez, in addition to some other participatory art hubs. Watch for my mixed-media paintings and works on paper at WINK Wine Bar & Restaurant in West Austin this fall as well, in addition to the Seton Cove Spiritual Center. Lastly, every fall I participate in Dia de los Muertos (Day of the Dead) programming at the Emma S. Barrrientos Mexican American Cultural Center, facilitating traditional sugar skull workshops and creating a flower&bone ofrenda (offering) floor-installation, that I will likely do again this year.

SDG: You are really good about sending out a newsletter every month to update everyone about your work and what you are doing. Has it been to struggle at all learning to promote your self? What advice would you have for an artist that finds it hard to self promote and talk about their work?

LR: On promoting one’s self….this can be tricky for anybody…artist or not. Though there are a few out there who seem to have no reservation, hesitation, or difficulty promoting themselves. I envy these people, however…in some over-the-top cases, I think it can also be a deficiency-indicator in other areas…or emotions. Don’t necessarily quote me on that. Sometimes I feel that an artist, in order to be a successful one, must be quite pro-active in self-promotion. Now we can define success in a whole ‘nother lengthy interview article. Success can often times mean financial-gain and abundance. This is largely what an artist may consider as successful. Having individuals buy and collect your work. Feeding you money to feed your creative habit, drive, ..necessity…and also that you may enjoy a certain quality of life, whatever that quality looks like for you, the individual artist. Yes, money is important and desired. However there are also other arenas of success that do not entirely, immediately equate to money. Yet money is needed I suppose, again, in order to have the means to create work and get it out there, continually, so that one might have some sort of success…even if that means continually being able to create and show your work. This is success, in that you don’t stop. You don’t quit. You don’t let society, someone, or yourself get the better of you. I am not talking about being delusional or detrimentally harmful, negligent, or imparting unhealthy circumstances for yourself….but you don’t let your dream die. It may change along the way. But you don’t give up. When you do that – when you give up - a piece of you dies. Now there may be times you give up…temporarily…for a day or week or month or year…or several, but inevitably…you come back to it., and it you. It is hard to have hope, if we don’t have dreams. Something we are aiming for. Big or small. Doesn’t necessarily matter. The small things over time can be and grow quite large when collectively summoned together.

I often feel the need to have something great to share with people before I will put anything out there…in terms of a Newsletter. I try to send a monthly one, but sometimes it might be every other month…or every two months here and there…but that lets me know I might need to step up my game…get to work…or simply know that it is okay to have a bit of a stall or mild period, and this is all part of the process. Again, we live in a hyper-productive or pseudo-productive platform. Sometimes it is simply nice and okay to say – Hey…I didn’t bend over backwards or feel the need to spread myself in an anxiety-inducing frenzy, and I’m okay with that.

I do know that I am proud as I read back over my Artist Newsletters. Not only does it reveal to me the work I have actually been doing, and the monumental achievements and celebrations that I need to recognize, and celebrate if I didn’t properly at the time, but it shows me that I am in fact making stride, and I am Doing It. And this is a big part of being an Artist. Doing You. A big part of being Human or Alien…or all the above. DO YOU. BE You. SHOW You. Dare to be Seen. Sing Your Song. Promote Yourself. Stand Up & Out. You don’t have to be an ego-maniac. You may be subtle, humble…and I believe in this approach and characteristic, for this can be highly rewarded, and I have experienced it time and time again. But I have also been highly rewarded when I was WILLING to put myself out there….simply striking up a conversation, casually and confidently mentioning I was an artist…describing my work…or proudly and genuinely sharing my latest good news, i.e. ‘I have video art showcasing in Southern France for an entire month!’ People want to know these things, especially if they are interested in you or your work or #art&creativity#something other than what they’re doing#the exciting life of an artist that is not theirs….or have never even met you before.

And not everyone will, but the ones who are meant to will, the right ones. Again, I am an intuitive person, so I like to try and feel situations/people/the room out at times. However, if I spend too long in my head-gut, I can talk myself out of something and possibly miss out on a great connection or opportunity. *I like to think that a bigger force takes care of all that and destiny steps in, and I do believe that; God has shown me that in very real ways, at times to a surreal degree. What I’m saying to whoever is reading this, as well as myself, don’t feel the need to be a Wall Flower ..at least not every time. Take a chance; go out of your comfort zone. Likely, even often, it will be Great with better outcomes than you might have even imagined, and you get that solo show…and $ell all your work$..and get invited to do another show at another space…and so on and so on, and all will feel Right and Aligned, and THIS IS AWESOME! And when this does occur, Relish in it, and Acknowledge it , and Honor It….cause these are rare ..and fleeting, as we are soon onto the ‘next green pasture or triumph.’ And even if the complete opposite happens, and your emotional intestines and pride end up splayed on the floor, no glory and all guts….well hey you gave it a shot, and it is not the end of the world, but merely a part of the process. You dust yourself off and get up again. It helps us all realize that it is not the end of the world if someone does not receive us, or things don’t go the way we thought or had hoped, …and we dare even fail. It is more failure not to try in the first place. Conquer that fear of failure by standing up to it and taking a chance. This all sounds like a motivational blog entry.

There's a Method to my Madness by Lacey Richter

SDG: It is motivational for sure. What drives you and keeps you motivated, inspired, and focused?

LR: Nature helps me a lot. Taking walks to simply be in neutral-mode. I like to look at and observe nature. Walking helps get me out of my head. Any kind of physical activity is good for this. Walking is peaceful though.

TRAVELING and getting out of town…out of my everyday environment and familiarity. Helps change my perspective and recharge my soul and batteries to want to start or keep sparking again.

Going and looking at other art work, be it peers, or masters, is definitely a tool for inspiration, though I don’t do it as much as I should or necessarily would like.

Talking to other artists and creatives, not just visual artists per se, but musicians, writers, actors, chefs, fashionistas….creatives. Confiding in them, if you feel received and safe, trusting in them…having real conversations about work, creative obstacles, self-doubts, thoughts/ideas…showing your very work and receiving some feedback or exchange - - - this definitely is important. I know I like to spend a lot of time solitary, as this is part of the artist path I believe, however we need community. We need exchange. We need support and encouragement…and fresh, different eyes…and sound of reason or mind when we simply are too saturated with our own thoughts/emotions/defeating doubts. Go have a beer with an artist friend. Do a studio visit. Go see a show at a museum together. Go see a movie. By yourself.
Have a yummy snack and enjoy it. Nacho-summits are my favorite. * I am kind of a nacho coinsurer. I like to go have nachos and a rita on a patio and use my Spanish with the waiter or waitress. This is something I do. I also will sometimes include a fellow creative to share and enjoy my company and nachos, though I’m very selective.

Small things like this. Help me to simply be in the moment and ENJOY my Life, which in turn helps me to maintain creative frequency and fruitfulness.

I will admit, I can often run the other direction from the very thing that makes me feel good and anchored and emotionally, physically, mentally, spiritually satisfied. I will avoid my studio and making work and the process, and it is foolish. As soon as I do go into my studio and start doing something, I feel BETTER. Even just being there. Sitting and writing. Sweeping. Strumming my guitar. And/or swearing.

This resistance is common for the artist. The more I talk to my fellow people, young and seasoned alike; artists and creatives can fight the very nature of what they have been gifted to do. This is reassuring.

I will say, even if I am not physically at my studio, creating work there for stretches of time….I am likely still creating. I am thinking. About Ideas. I am noticing. Colors. Patterns. Intersections of Intrigue…the orange construction cone, the gnarly gravel rock pile, ..the reflective neon shiny stripes of the detour sign. I am writing. I am strumming my guitar. Practicing songs. Recording new song lyrics in my car while a train goes by or a blinker pulses in the background. I am savoring textures of nachos and salty-tangy-frozen ritas…the granules of ice dissipating on my tongue. I am laughing. And crying. Sometimes as the same time with friends. I am pacing. And dancing. I am Praying.

Spirituality for me is very important, and it feeds, and at times, fights, into my very process and work as an artist.

I recently gave a sermon to my church….I know…this was unexpected - -it was a pretty unique experience. I talked about Dance as a Metaphor for Life, and how we simply need to be Willing to get out on that dance floor…even if we are terrified…or we don’t know the steps..or ‘what if we look like a fool’….all the things that can often go through our minds when Life calls us to show up and Be Seen…Be Celebrated…Be Daring…Be ALIVE! We can either let the song pass us by…and often times, there is another one on the record cue…sometimes an even better one that is more in-line with our individual personalities….but sometimes there is not – that’s it. No B Side. Don’t miss out on your song….or simply the exhilarating fun and freedom of finding your song! I managed to reference FOOTLOOSE, the movie if you were living under a rock in the 80’s, as well as a James McMurtry quote, ..go see him some Wednesday late night at the Continental Club…you just might get lucky and see me dancing on the stage with him in a coin belt, as well as some of my ART - - my recent video art…of when I had snuck in that very church and tap-danced in my Lacey-made-Mexican-hot-glued-pesosed-red-vintage-Spanish-high-heeled-tap-shoes in front of that luminous and holy stain glass window! This I never would have thought or suspected…across the plywood board…but Life is Funny & Interesting & Beautiful. God Does in deed work in very Mysterious, Artful, and even humorous ways. I am Grateful for this. He Is the Ultimate Creator & Artist; He created Us…Artist, Alien, & the Like. I Need Him as my Ultimate Magic Color within my array of colors on my palette and my heart…..as well as my racy Fara-Fawcett get-up, that was once my Mom’s for the record, and red-hot-tap-shoes! All is to say….when we are willing to embrace Life and Ourselves….One Another, whether through success, Excess, Joy, humiliation, and/or Failure, we make God Smile, and we give each other permission to simply be who we are, as well as who we dare to be..and will likely eventually become, in loving spirit, and that is more than enough.

SDG: When you think about what your life as an artist will be like in the future what do you imagine?

LR: As for what I want to be doing as an artist in my future….continually making work, showing it, EXPRESSING, Fully & Robustly, TRAVELING ABROAD, likely doing Residencies/Workshops, creating and showing work in other countries, galleries, and unique venues. Upping my Collectors’ Base. Celebrating Life and My Talents, however that looks on the day. Collaborating. Dancing. Always Dancing. Singing & Making an Album of my original songs…with a self-portrait and/or art on the cover. Inspiring & Encouraging Myself and Others. G-R-O-W-I-N-G. Dreaming. Doing. Being. LIVING. Boldly. Richly. Lovingly. ArtFULLY.

Many Thanks to you Scott, as well as Davis Gallery, for this special opportunity. I am honored to be a part.

* I am rebuilding my Website at this time, though you may still see some of my work simply by googling my name, Lacey Richter, or friending me on Facebook. I aim to have my new Website up and running for your viewing pleasure by later this Fall, video work included.

SDG: Wow. All I can say is wow. Talk about being uninhibited and vulnerable. Thanks you Lacey for sharing so completely.

Laurel Daniel

August 11, 2014 Scott David Gordon

Laurel at Commons Ford Ranch in Austin, TX.

The first time I saw a Laurel Daniel painting was at Davis Gallery last year. I immediately loved her work and it turned out she is very good friends with Jan Heaton, who I have now created two panoramas with. One in her home studio and one at Boggy Creek Farm to support her series of watercolors based on vegetables bought from farmers markets. She connected me with Laurel and it took quite a few months for us to get together but finally last week we met and collaborated on this photo. She is primarily a plein air painter so it made sense to show her in the outdoors, with her set up, working her magic. I'm really happy with it. Seems like Laurel kind of likes it too. Thanks Laurel. It was really fun working with you!

“Oh, my, GOSH!!! I absolutely LOVE how the panorama turned out!! You did such a great job pulling together all the various poses and telling the overall story of my process. I am so impressed... it’s a fabulous image and I am so tickled that it’s actually me. :) ”

— Laurel Daniel

Emily E Galusha

July 30, 2014 Scott David Gordon

Emily and Luna last year in her old home studio.

The first time I met Emily Galusha was when my other studio mate at Canopy, David Barrow, suggested that she would be a great person to share our space with. He was right. We hit it off immediately and she has been here ever since. I made the artist studio panorama of her during our first meeting which also consisted of relationship advice and fawning over her sweet and beautiful German shepperd Luna. She never comes into the studio in a bad mood and always participates in the Canopy Open Studio events when she can, showing her great work with a smile. I'm thrilled to have her around. She is a hard worker which always inspires me to not just sit at my computer and surf the web for hours on end.

The panorama I made of her last year will be exhibited in a group show at Davis Gallery here in Austin this September. This interview is part of a series getting to know the subjects of those images.

"Interval" by Emily Galusha mixed media on canvas. 40" x 40"

SDG: So when did you first realize you wanted to be an artist and what did you do to make that a reality?

EEG: I don't know if there was ever a clear realization, but more a way of life. My mother was an art teacher for most of my life and my father was very supportive of all things creative. We were constantly doing artistic projects at home, growing up surrounded by motivation and ideas. It's in our blood to be creative and inventive and busy. Dance was as much of a part of my life as art. I took tap, ballet, jazz and modern for most of my life and even studied it in college before switching to visual art. It has a great influence on my work today.

While achieving my BFA at the University of Arkansas at Fayetteville, I studied everything from Printmaking to Ceramics to 3D Design. I wanted to learn it all. The variety helped my graphic design work, where I ended up emphasizing my studies. Combining illustration with computer graphics was not too common at that time and I loved pushing those boundaries. I loved school. It was challenging and humbling and studying alongside a talented group of students and teachers was very fulfilling. It was then that I realized, to be a successful artist you have to work to your full potential. The creative drive is intoxicating and the ebb and flow of creativity can be addicting.

"Suspension in Music" by Emily Galusha mixed media 26" x 26" — "Suspension in Music" by Emily Galusha mixed media 26" x 26"

SDG: Achieving your full potential in different but related fields must take a lot of discipline. What do you want to share and talk about the most out your many skills and talents? It's hard to keep track of them all.

EEG: Thank you for saying that. At times, it is a challenge for me to focus on one avenue. Between graphic design and art, I stay busy. Graphic design is a constant in my daily life. After years of working in ad agencies and design firms, I began freelance designing in 2008. Working with clients independently on branding, as well as print and web design, has been a demanding but also rewarding experience. Currently, aside from design work, I have two creative projects going.

The first is a pistol series I began over ten years ago that has been growing and evolving. I have referred to the pistols as my version of the female nude. The light hits the curves and plays along the mechanics of them. Combining the organic with the mechanical is important. The pistol could be disintegrating into a cluster of moths, or perhaps I frame it with found antique wood. Including the human touch is a nice additive, making it more than just an object.

"Apis Nido" by Emily Galusha  mixed media — "Apis Nido" by Emily Galusha mixed media

The second is a newer series stemming from life experience. I'm a pretty private person and have been wanting to challenge myself by exposing a more emotional side in a tasteful, expressive manner. As I mentioned, dance has played a large roll in my life and is a great outlet for creativity. I worked with my dear friend and talented photographer Lily Darragh in Little Rock to shoot a couple of dancers.

Working with a dancer during the Little Rock photo shoot.

After spending quite some time narrowing down the emotions/narratives I wanted to convey, I constructed playlists to correlate with each narrative. As the dancers listened to the music, I loosely "choreographed" the shoot and encouraged them to improvise and tap into their own forms of expression. It was a pretty incredible experience watching these talented girls put my description in to action. The photos turned out better than imagined. I am now in the process of organizing the photos, sketching from them and creating mixed-media paintings.

SDG: That sounds like a really fun process. I can't wait to see some of that new work. In a way you just answered this question but what keeps you motivated, inspired?

EEG: It is important to try and push oneself spiritually, emotionally, creatively, etc. Having said that, I also try to relax and enjoy life and my surroundings. I think it is just as important to decompress as it is to stay focused. For me traveling is a great way to stay driven and inspired. A road trip through the west pretty much does the trick.

Andrew and I run a small urban farm in East Austin (HOPE Community Farm) that is a productive and dirty escape that teaches and motivates both of us. Working together on the farm and in life my husband has proven to be one of my favorite people on the planet and also one of the most resilient and loving I've met. He reminds me that, if something fails, learn from it and move forward. That is something that helps me to grow every day.

SDG: Well, I have definitely learned something and it's how not to fail at being a kick-ass artist. Thanks Emily for sharing your wisdom and experience. I look forward to seeing all of your projects flourish and I am very thankful to have such a wonderful studio mate.

Stay tuned next week to see who is next in this interview series. Thanks for following along as we get closer to the opening on Sept. 6th. See you then.