Why did you pursue art?

I pursued art because my mom and oldest sister were examples to me. My mom even took me out of kindergarten to go to the Metropolitan Museum of Art. She taught me many techniques like embroidery and toll painting. The furniture she built for my dolls also inspired some of the works in this show.

How did you come to have this show?

I was invited by Glen Nelson and Brad Kramer to have a show a year ago. I am LDS and Writ and Vision specializes in that kind of work. I really believe in making the best work you can and letting people find you instead of focusing so much on who will like the work and what to do in order to be discovered. That is exhausting.

Why is this show important/meaningful to you?

This body of work directly articulates what it is like to be a person with mental illness.  I think this show is important because people who have these issues and see the film have very personal reactions to it and are moved in a way that surprises even me. It is gratifying to see the hope it can give to others.

What is a joyous moment that you’ve experienced recently?

Simple moments of understanding with my husband have meant a lot to me recently. For the first time I felt compelled to write a song about him. I can’t wait to finish it.

Did you have to give anything up to pursue a career in art?

I gave up being signed to a record label with my friend’s band ‘Laguna Meth’ to finish my painting and drawing degree. It was a very hard decision until my sister reminded me that I had wanted to attend SVA for so long and had busted my butt to get there.

Besides this, what is another hidden talent?

Seriously, I used to be very good at limbo. Scary good.

Passion, or hobby of yours?

I’ve been writing lots of songs lately using garage band. You can play any and all instruments now with the help of the computer.

Animal I Would Want to Be Most:

I would want to be a monkey because it’s fun to jump from tree to tree and have a tail. Also I like bananas.

Morning Routine:

If I make it out of bed before nine I head over to the Highline and jog to the Whitney and back. It’s a beautiful luxury but unfortunately I usually get up too late.

My Dream Collaboration:

I just did one! I got to collaborate with a super rad cartoonist ‘Jon Burgerman’ on an animation this week about sleepy junk food that doesn’t want to go to work.  We came up with a funny punk song to go with it. I would also like to collaborate with Mike Perry and Jeremyville.

Favorite Comedians:

Jim Gaffigan, Anjelah Houston, and Mike Bribiglia.

What is the most traumatic thing you’ve gone through?

Having major depression as a teen and not understanding why life was so terrifying.  My relationships at that time were very damaged; people didn’t know what to make of me.

If you could tell everyone in the world something, what would it be?

Don’t let your job determine whether or not you pursue your passion. Find a way to do it even just in the little free time you have. And it’s never too late to be an artist. I love seeing lists that say things like ‘Gauguin was a banker until he was 35!’  And some of my favorite folk artists started making art in their old age. For instance, Grandma Moses and Howard Finster. I have some pieces by Howard Finster on my desk and they remind me to be bold and think different.

More by Annie:

www.anniepoon.com

http://www.writandvision.com/gallery/#/the-split-house/

@anniepoon

Like all good art, Weston’s photographs elicit a response from the viewer, whether from a change of opinion or the purchasing of a product. He believes there is an inherent difference between simply TAKING a photograph and MAKING a photograph. He enjoy the journey that is evident within his art and also the unseen personal story behind the lens of creating the photo.  

Fueled by his greatest fans and critics (his wife, two sons and baby girl), who have inspired him to pursue his passion and create the stories, life and world as Weston sees it.

What is a joyous moment that you’ve experienced recently?

Joyous Family Moment – Being with my wife and kids in the amazing Utah outdoors skiing and camping in the past month, where we get to be reunited with each other and step away from the hectic running around of everyday life.

Joyous Art Moment – Finishing up my last project and having everything turn out exactly as I had envisioned it. The audience who looks at the pictures sees the surface content of the art, while I see the experience and ideas it took in creating the image. I worked with a great team of individuals who helped me create reality from an idea. Working with great people is a huge part of why I love to create, because of the human network that comes together to create art.

Why did you start? Out of opportunity, necessity, dream job…?

I always loved art and I was an okay doodler, but could never pursue drawing as a carrier, which is partially why I love photography. Using the camera as my tool, it helps me to create the images I otherwise couldn’t create. There is something magical about being able to preserve a part of reality in a frame of a photo and then being able to manipulate it or leave it as is. So when I was working with my father after college the OPPORTUNITY to take some marketing photos presented itself, which helped launch me back into my love of photography.

From the opportunity of working with my father and encouragement from my awesome wife, it helped me to start down the road of pursuing photography as my dream career and to start showing my work to others. Leading me to going back to school to receive my MFA in photography and in helping me find out who I am and what I want to be when I grow up.

Favorite Drink: Spezi (German mixed soda of Coke and Orange Fanta)

Did you have to give anything up to pursue this?

Yes…chasing what you love doesn’t come without sacrifice, but pursuing your passion makes it worthwhile.

Are you close with your family?

Yes. I’m lucky because I have a great support team (wife and kids) behind me who encourages me, inspires me and push me to be better today than I was yesterday. Before pursuing photography and being an artist, I worked with my father and brother in Real Estate.

Morning Routine: I’m not much of a morning person, so I’m usually dragging myself out of bed because I stayed up the night before working on a photo or procrastinating going to sleep. It’s easier for me to work later in the evening after my kids have gone to sleep.

Dream Tattoo: None, I prefer to be the creator and not the “canvas.” Plus I don’t have a clue how someone can decide on the right one. I prefer the temporary tattoos my kids get in their bubble gum.

My Dream Collaboration: Working with Erik Almås on a composite piece in Scandinavia.

What is the most traumatic thing you’ve gone through? Having my daughter stop breathing in my arms on the night she was born. She was later life flighted to Salt Lake and submitted to the NICU. My wife was a champ but I was a mess through it all.

If you could tell everyone in the world something, what would it be?
Find out who you really are and than be that person, which is actually not that easy…or at least is wasn’t for me. Allow others to help you figure yourself out and get to where you want to go. You not only will end up where you wanted to be, but you’ll have a pretty great journey and support group to help you enjoy the fruits of your labor when you get there.

E-Mail: info@westonfuller.com

Website: www.westonfuller.com

If you ask an artist what their perspective is on the specialness
of art, you would probably get a different answer from each
artist.

Whether or not it is special to anyone else is unimportant. You
paint what you are.

Even though it often comes with a dollar sign, art itself is priceless. It is a piece
of history, an expression of self. A birth and a creation.

We can filter history, philosophy, pop culture, and the universe through this lense. We can derive meaning or the meaningless. We can fantasize, embellish, or just point out the obvious. It makes you stop and consider.

All photography done by Jane Groom: www.janegroom.com

Meet MAS (pronounced ‘moss’), Salt Lake’s dedicated team of incredible women, artists, and curators of Salt Lake’s finest modern art- with a mission: to make art accessible to everyone.

The way art is positioned and presented is becoming an increasing obsession in the art world. The rise of super curators and curatorial styles are under strong focus as never before.

In On Curating, Carolee Thea writes, “Among the major figures to have come of age in [today’s] cultural milieu is the independent curator, whose importance can be compared to that of the literary critic’s in the 1950s or the business consultant’s in the 80s. Yet, aesthetically, curators are more like theater directors, and it could be argued that they follow a performance paradigm rather than one based on the object or commodity. We could say they are translators, movers or creators whose material is the work of others—but in any case, the role of mediator is inescapable. While the art critic embodies the generalized gaze of the public, the curator inversely translates the artist’s work by providing a context to enable the public’s understanding. The expanding geography of the art world, the complexity and interdisciplinary nature of artistic proposals, and the demands of various publics create a situation in which mediation plays an ever more crucial role in the exploration and dissemination of art.”

“Historical wigs always fascinated me, especially the baroque era,” Kozina says. “this is art for art’s sake aesthetics for aesthetics — no practical sense, but they are beautiful. in this case, paper helps to highlight the main form and not to be obsessed with unnecessary details.”

Where are you from originally and what brought you to NYC? 

I grew up in Utah but spent the last few years living in the DC Metro area. After nearly six years of living in DC I realized I needed a change and already being on the East Coast, I thought New York a natural option. It helped that I already had social connections here. Having lived in DC I had visited NYC a half dozen times or so over the years and I’ve always loved the energy of the city. It’s been challenging moving here but also incredibly inspiring because there is so much happening in so many different areas.

Can you tell us a little a bit about your current neighborhood? Why did you choose Harlem?

Choosing Harlem initially was a function of cost and space and what was available during the few days I had to find a place. I initially wanted to look in Brooklyn because of the reputation for being an artists haven but was having a hard time finding a place that was a decent size that was also affordable and accessible by Subway. When I started looking in Harlem I realized that it hit all of those practical boxes for me. After living here for almost a year I’ve found that Harlem is just one of a dozen little sections or neighborhoods of New York that has its own drumbeat, its own history, and its own cultural uniqueness. I love that about it. I love that about New York. Each neighborhood is different and has its own style. I love that I get off the Subway in Harlem and even though some of the Brownstone apartment design aren’t very different from the Upper East Side, or the Upper West Side, or parts of Brooklyn, it still has its own unique feel. The air, the people, the interactions on the street, all of that makes me love that I chose to live here. I especially love finding what I consider “architectural gems,” little buildings or aspects of buildings where architects and designers took a little bit of extra time making something beautiful. Sometimes I notice these in even the abandoned buildings that are under renovation, or need to be renovated. I see through the dilapidated nature and recognize the original beauty that once was there and is still hidden behind the crumbling facades. Most frequently these things are at a height that the standard street walker would never see unless they take the time to pause and look up. I love that about New York, the hidden gems in every neighborhood.

Were you interested in art as a child? If so, what were you drawn to? Did your parents encourage your creativity?

I was interested in art as a kid, but mostly I was interested in learning how things worked. My mom signed me up for some formal art classes from an artist in my neighborhood when I was 10 or 11. Those lasted for a couple of years and were mostly watercolors with a little bit of inkdot work in there. I still think I have some of those pieces tucked away somewhere. After we moved the summer I turned 12 I no longer did separate classes and just had the standard middle school art classes. Despite no longer doing art classes I have always liked figuring out how things operate, how to build things, and why they work. I watched my dad build a computer when I was 11 and thought it was the most incredible thing and I started taking apart broken electronics or items from relatives to try to figure out how and why they work. From that excitement my parents have been good about encouraging exploration of ideas, knowledge and personal creativity. My father use to be a photographer and turned a bathroom in our house into his own darkroom. Years later he saw a particular style of painting and loved the idea so much that he created his own pieces and had them in a few galleries himself before going on to become a writer and publishing a number of books. My mother was a seamstress and designed wedding gowns for a large pattern company in New York City and later she started her own interior design business doing Faux painting for high-end residential and commercial spaces. I spent a lot of hours in college working with her on projects and learning from her experience and techniques. I would say as a result of my parent’s own lives and creative projects that they were very supportive of creativity growing up but due to the nature of their work they weren’t pushing for us kids to be artists or poets or creative in that sense, it was more just a part of who they were and how they lived. I had been creating pieces for a couple of years in DC before my parents came out to visit. I had talked to them about my art and sent them pictures but those pictures don’t really provide a sense of the work because you can’t experience the detail, the contrast, or the size. Small photos limit the viewers perspective and experience. I enjoyed seeing their surprise and amazement when they saw the pieces in person because they finally got to experience the pieces.

When did you start working with wood? What are the pros/cons of working with this medium?

I started working with wood as a form of art just a few years ago but that doesn’t really pain the whole picture. I was first introduced to a proper wood shop by my grandfather, he had a great little shop in the basement of his house when I was young. Back then I was too young to actually learn there and wish I had been older before he moved and sold everything, I still have a bookcase that he made. In junior high school I took a shop class and in high school I built the sets for our high school theater company. Throughout high school I also worked a series of odd jobs that all contributed to giving me different experiences with wood and art. One summer I worked construction with a friend of my fathers ripping out old windows and installing new windows and molding. Another time I worked for a startup company in a neighbor’s garage where we would build fancy bulletin boards with “antiqued” frames and fabric backing, the types of things you see all over Pinterest and Pottery Barn now but weren’t available back then. I did a lot of painting and sanding of those frames to make them look worn and antiqued and each one was a unique as a result. I only worked there a few months but it gave me a new appreciation and understanding of process and creativity versus mass production. Back then I was paid per piece so it was in my interest to learn how to be more efficient in all of my steps and to track everything to minimize mistakes and improve efficiency but due to the nature of the product it still needed to have some artistic flair to keep the customers satisfied.

One of the biggest challenges of working with wood is understanding how it changes. In that area I feel that I’m very much a beginner. There are so many different types of wood, they each respond differently to various environmental conditions, some types are harder than others, some heavier and stronger, and some cut easier based on the grain of the wood. The biggest challenge is knowing whether or not the wood is going to warp or significantly expand or contract as the humidity or temperature change. For many of the art pieces I’ve done it doesn’t matter if they change because I reinforce them so I’m not worried about their structural integrity and any expanding or cracking only enhances the look, since they are designed be rustic. However, I’ve noticed how some of the early pieces I made have changed over the last few years and it’s made me realize how challenging creating some pieces can be, especially if a client likes something for a particular look and a few years later realizes the wood has cracked that could be a problem. Personally, I like the change. I like the character it adds, after all I’m primarily using aged worn pieces of wood so additional splitting isn’t something I worry about from an aesthetic view, it’s enhancing but it does present a challenge from an client expectation basis.

Tell us a little bit about your process. What kind of woods/materials do you use? How much time to you spend on a piece? Do you offer commissioned work?

It all started as a “what if” idea, a let’s see if I can do this and it’s just morphed from there. The first piece I ever did was simply a knock off of something I saw in a magazine article and I thought, I have the wood, I have the tools, I can make that and so I set about figuring out how to do it. I’ve learned a lot over the course of making various pieces, some things I found really work well and other things don’t. Some processes are easier than others and taking more time on one step will save me more time later on in others. The one thing I’ve been very good about doing is tracking the steps I take on each project and the total time each takes. Part of that is the business background in me, I want to know where I’m spending the most time and what takes the most time for each project. In the various iterations I’ve done on some of my pieces I’ve already cut hours off the initial product. Now some of that is just the nature of learning to do something, but some of it is figuring out how to do a step better than I had previously. The total amount of time I spend on each project various. I think the least amount I’ve spent on a project was about 10 hours and the longest on a single project was over 40 hours of what I call working time, the time I’m actually doing something. I don’t count the time I have to wait, for glue to dry, or some of my design time in.I am willing to do commissioned pieces and have done a few already for people. Those are often fun because part of the challenge is people have often come to me with ideas of thing I haven’t done yet and things that I’m not sure if I can do. The challenge of piecing the puzzle together and working out a plan to give them what they want is some of the best part of the creation process. It’s also some of the most time consuming because a lot of thought and sketches go into the design even before I start building the project.

Do you have any other interests/hobbies that influence your work in any way? 

I often answer this question by saying “Everything!” It feels cliche to answer that way but I can’t say it any other way. I read an article recently about an architect who designed a building in Australia that is inspired by Beyonce’s body and I thought, “Yes, exactly! That’s Everything!” The world has such a rich selection of artwork, poetry, design. I love it all. I especially appreciate really good design. The way a restaurant is designed to minimize lines, how the handles on a door let you know whether you should push or pull without having to think about it just by their shape, those are the little things I notice and appreciate in the world around me. Since I primarily work with wood, I’m always paying more attention to things that are designed with wood, whether that’s wandering through Restoration Hardware looking at how they designed their new line of tables to the interior decorations in a restaurant or other commercial space where a wall or counter is built with wood. I’ve also had friends send me pictures of things they see and some tell me that my stuff is better than what they see and others ask if I could create something similar. All of those experiences help me think about new ideas and possibilities for what I’ve done and what I could do.

You enjoy traveling. Are there any places that especially inspire you artistically? Where would you like to go next?

I love traveling. I love seeing new places and learning how people live, think, and approach life in other areas of the world. I love the immense beauty of the landscapes in Iceland, Switzerland, and Norway. I love the cities of Europe because their history, their art, and their architecture are so much older than what is available in the United States. Some of the old cathedrals are mind blowing to me in the scope of their design, their artistic beauty, and the detail, especially when considering these were created at a time when there were no computers to run simulations on material stresses and foundations and there were no cranes and power tools. The craftsmanship is phenomenal. One place I would love to visit is Cappadocia, Turkey. I went once before but didn’t stay long and that was before I knew of the vast underground cities they have there that were created centuries ago. They have a series of tunnels and rooms extending multiple stories underground that can house tens of thousands of people for months on end and they are continually discovering new levels and new rooms. One thing that amazed me when I first heard about it was learning that the kitchens there funneled the smoke from the fires up and out several kilometers away from the entrances so that even if smoke was discovered by an invading army they wouldn’t be able to locate the entrances to the underground city. It’s ingenious and amazing for the time. Besides Turkey, I would love to visit New Zealand I’ve heard amazing things about the scenery, the people, the food, and the lifestyle so much so that everything seems just perfect there. I’m almost afraid to go for fear I’d never want to leave, which wouldn’t be a terrible thing either.

Are there any new projects or other creative endeavors on the horizon?

I have dozens of ideas but not nearly enough time or space to build or create. I’ve drawn up plans for various types of furniture designs and I create lists of individual and larger art projects I want to do but it’s challenging to find the time and know where to focus my efforts. One thing I didn’t expect in moving to New York is how much more challenging it would be to create. I have dedicated art space but it’s so limited in size that working with wood there is hard because each step requires completely reconfiguring the room and that takes more time away from creating. I have a couple of furniture projects in the works that I want to get finished before doing some more artistic style pieces. I haven’t decided what I’m doing next but I’ll consult the growing list of possible projects and then decide from a combination of that, any client requests, and whatever has inspired me most recently.

Do you have a favorite artist/artists? What do you like about their work?

I have a hard time picking favorites because I love a broad variety of work. I love the designers and writers at The Great Discontent for their publication. I think it’s well done all around and I’ve enjoyed reading both the print and online versions. I took an art history course my freshman year of college and fell in love with Caravaggio’s work. I love the deep hues and the stark contrast between the image in the foreground and the darkness that permeates the background and all of the paintings space. I’ve been to a number of shows in the last few years of lesser known or aspiring artists and loved the variety of the work. I visited 5 Pointz in NYC before I moved to the city which was a large multistory warehouse that had a ton of exterior wall space that artists were able to work with. I think that was a sad day when they tore it down to replace it with condominiums because the talent and the overall immersive experience there was phenomenal and the city and the developers gave up too much through the change. I personally love work that wows me. The ones that make me do double takes as I’m just walking by and that keep me coming back. I’ve been trying to place my finger on what it is that draws me in and I think it’s a sense that I can feel the artists emotions emanating from their piece and I can relate to it. There was a short-term show years ago called the G40 Summit in the DC Metro area and a number of artists there drew me in, one piece in particular was of a woman sitting at a table pouring her coffee slowly out of her mug while the background was muted and the coffee spill flowed to the edge of the frame. I wanted so badly to buy the piece but at the time couldn’t afford it, sadly the photo I took of the piece with the artist information wasn’t a good enough resolution for me to look them up years later. I would still buy that piece given the opportunity. I think that’s what I love about art, it can be immensely powerful and speaks to each person in its own unique way. What one person hates, moves another to tears, it’s incredible.

Is there anyone you would love to collaborate with?

I would love to collaborate with Elle Luna on a project. I think she is incredible and inspiring in pushing people to explore their creative side. She recently did a 100 Days Project that I thought was absolutely brilliant because it created a global community of people working each day to do something creative. I loved the way she used the idea to not only push herself but to inspire others to push themselves into new areas of creativity. At the end of the day that project was all about showing up, being present, and dedicating oneself to the creative process each day.

Thank you, Nate, for showing us around your neighborhood and studio space.

You can keep up to date with Nate’s work or inquire about commissions on his website: wrightdesigns.nyc.
You can also check out his 100 days poetry project inspired by Elle Luna here: @inconveniencedinny.

Photography by Rebecca Reed excepting images 5, 11 and 12 courtesy Nate Wright.

You were interested in building and making things with your hands at a young age. What first sparked your interest in jewelry and metals and what kinds of things did you make growing up?

As far back as I can remember I was always drawn to anything that required working with my hands. There is a home video of me gifting my youngest sister with a necklace made of copy paper and tape on her first birthday. I used to spend hours upon hours arranging flowers (which were actually weeds from the yard) into little bouquets, and when I was in elementary school, I was obsessed with beading and friendship bracelets. I was and still am interested in the source of objects; where a particular object comes from, how it’s made, who made it, etc. I think once I figured out that I could form something that could then be worn or serve a utilitarian purpose, I was sold.

You earned a BFA in jewelry and metals from the University of Georgia. What were the highlights of your time there? What did you plan on doing after graduation?

I was really fortunate to study with some extremely creative individuals and also under really great professors at UGA. A big highlight for me was the relationships built in art school and the ability we had to dialogue about our work. I realize now that I took for granted the ease with which we could critique one another. I definitely miss having the daily companionship and feedback from my classmates. After graduation I needed some time to re-evaluate and figure out what—if anything—i wanted to do with my degree. Many people were going on to work as bench jewelers, but I didn’t feel like that was a good fit for me at that point in my life. I definitely wanted to start my own business, which felt totally crazy. Even just 5 years ago, starting a creative business was not nearly as common as it is today.

Can you tell us a little bit about the pieces you made for your thesis show and the inspiration behind them?

I was in a bit of a creative rut during the time I was supposed to be choosing a direction for the final show of my undergrad degree. I struggled (and still do at times) to try and make something that no one else has done before…to re-create the wheel. I finally realized that there truly is nothing new under the sun, which can seem depressing to a creator-type, but honestly it brought me so much more freedom in the way I approached my work. I think as a young artist, it’s easy to believe that you need to create something one hundred percent new or something utterly profound that no one could possibly understand. I started to be less self-conscious and in turn became more excited about the possibilities for new work. I decided to choose something I knew and that was close to me versus something unknown. I created a body of work around the the culture of the American south and, specifically, what it means to be a female from the south. It was an investigation both objectively, and of my own personal family heritage. I used a quote from one of my favorite authors, Flannery O’Connor,  who was a huge inspiration for me, that says, “The Truth does not change according to our ability to stomach it”. I believe there is a lot of value placed on one’s ability to maintain appearances and keep things polished on the surface in the face of conflict or difference, rather than to address an issue for what it is and deal with the pain or awkwardness.  All of the pieces I made, though beautiful in appearance, are excessive and precarious to the wearer. I wanted the pieces to ooze sentimentality so I incorporated old watch crystals, time-worn photographs, and pearls. Each piece touches on a different aspect of my investigation. In making the Compact/Locket, I was working through keeping loved ones close to you (as a locket, next to your heart) and yet the simultaneous need to cover up and keep things pretty (as a compact, using blush) despite the intimacy of the relationship.

What led to your move to Madrid? How did your business evolve while you were there? How did living there influence your design?

My husband and I decided to move to Madrid with an organization to aid and support the growth of churches in Spain. I moved with the intent to develop myself as an artist more personally, but didn’t necessarily have big business goals. I wanted to soak in the new culture around me and observe how it affected my artistic process. I quickly realized that I needed a space in which to work, and was very fortunate to find a studio space just minutes from our apartment with two ceramic artists from Italy. it became a space for me to really process all the change I was experiencing. There’s a lot of glitz and glamour to living overseas, especially somewhere like Madrid, but it was definitely difficult at times to feel rooted. My work had always been a bit more organic in style, and I was watching it morph into being more angular and architectural. Early on in my time in Spain, I was experiencing a lot of emotions, good and bad, and everything in my life seemed abstract and loose. Without really realizing it, I was becoming more and more attracted to solid forms, buildings, and things that were seemingly immovable. Some of that could be attributed to the fact that I was now living in a big city, but I also believe I was longing for stability and was really drawn to objects that were static in nature. The Ventana series (cuff bracelet + torc necklace) were both pieces inspired by windows in Mallorca, a Spanish island in the Mediterranean.

You just moved to New York City a few months ago. Why did you choose New York and what do you like about living in Williamsburg so far?

I have always wanted to live in New York City and the timing worked out really well for my husband to go to grad school here and for me to move my business. I’m still really new to Brooklyn, but so far I love working in Williamsburg. I have met so many people doing different and interesting things from all sorts of backgrounds and it just never gets old. At times, the city can feel too fast and like it’s going to eat you alive, but I think in Williamsburg, the rhythm of life is a tiny bit slower.

Can you tell us a little bit about the 3D modeling class you are taking from the Fashion Institute? What ideas do you hope to incorporate into your work?

I’ve taken two classes in a program called Rhino and I hope to continue with that after the Christmas holidays. I don’t know yet exactly what I want to accomplish with this new set of skills, but I love to keep myself fresh and learning always. Having been trained in traditional metal-smithing, it goes against my nature somewhat to design jewelry on a computer, but I am intrigued by the fact that most jobs within the jewelry industry require you to know these design programs now. I guess I am just really curious about it and wondering if there’s a way to use CAD eventually to contribute to my work and enhance my designs.

Tell us a little bit about your process. Where do you look for inspiration? How do you take a piece from conception to finished product? What are your favorite materials to work with?

One of my professors told us in undergrad as we were, I’m sure, complaining about an upcoming project, that one day we were going to wish that someone would give us an assignment to complete…and she was totally right. It can be so hard to confront a blank canvas, so to speak, and it helps to have direction. So that’s what I do; I give myself little projects and tasks to complete to get myself in a headspace where I can create well. I take a day or two to search and collect. During this time I usually stay away from things like Google and Pinterest as I find they really cloud my creativity in the beginning. Don’t get me wrong, Google is normally a dear friend, but I think it’s a healthy practice to not solely rely on the internet. I visit museums, libraries, parks, and more. I people watch. I sketch. I take a lot of photos. I eat good food. I do things that give me energy.  I then compile everything from those couple of days and do a ton of quick sketching to get some of my initial ideas out. Then all of those sketches get pinned onto the wall because I need to be able to step back and look at what my brain is doing visually. From those findings and sketches, I create a few more developed drawings of pieces that tend to be larger in size and more conceptual. I then make one or two of these into paper models and eventually into metal. This helps me get out some of the crazy, less approachable jewelry ideas I have and provides me with a springboard for smaller, more ‘wearable’ pieces. Usually, an entire collection I release publicly will have come out of a couple of larger pieces that no one ever sees. I love working with gold because it’s a very forgiving metal and obviously beautiful. I have to say, I love brass for it’s color and cheapness, though it can be difficult to work with.

How does your commissioned work compare to this process? Do your clients come to you with ideas of what they want the piece to look like? 

Commission work is a very different process for me. When a client proposes a project, I send them a series of questions to answer so that I can get a better idea of who they are and what it is they are looking for. Often times it’s for wedding-related jewelry so the client is usually confident of what they or their future spouse wants. We go back and forth a few times with sketches that I have come up with until we’ve finalized the design. It’s not my favorite way to work necessarily but it has been fun because you get to know your client really well working on a special project of this nature.

Tell us about your larger metal work. What kind of pieces have you worked on already and what would you like to work on in the future?

I haven’t done a ton of large-scale metalwork, though it’s a dream of mine. I have done a few small sculptures, objects and wall pieces in the past and am interested in working towards designing and making hardware as well as light fixtures. I am really weird and particular about the lighting in a room and so I’ve always been interested in playing with that obsession I have for pleasant lighting…and to combine it with my love of sculpture and metal would be a dream.

Are there any specific artists that inspire you?

Lately i’ve been very inspired by modernist metalsmith Betty Cooke. Her work is minimalistic, but far from boring. She creates incredible pieces with a lot of movement and interesting layers, but with a minimal amount of material. I’ve also been really intrigued by the life and work of Eva Hesse after seeing some pieces at the Whitney.

Do you ever have a hard time letting go of a piece you’ve made?

I sold one of my pieces from my BFA show in college and that was really hard to let go of because I had spent so many hours with it and I felt very attached. With production work, I don’t feel sad to let pieces go, but more fascinated with where the pieces are going. I always feel really honored whenever someone purchases something from me and it’s exciting to think about all the different people in various countries who are wearing my work.

What do you hope those who purchase your jewelry and metal work to walk away with? 

I hope people feel like they’re coming away with a quality piece of adornment that has had lots of time and love poured into it. I love the relationship between maker and wearer.

We understand you’re preparing for the Renegade Craft Fair coming up Nov 14 & 15 at the Metropolitan Pavilion in Manhattan. How did you become involved and what can we look forward to seeing there? 

Yes! I have known about Renegade for years, but have never been able to participate in the past, so I’m excited to be a part of it this year. I will have a bunch of work from the past 4 collections as well as 5 new pieces that I will release in the next couple of weeks. And maybe a fun deal especially for Renegade shoppers too

Thank you Olivia, for giving us a peek into your studio space and sharing your process with us. You can view more of Olivia’s work and purchase pieces on her website: www.oliviaterrelljewelry.com. While you’re there make sure to check out her unique wedding ring project here: the wedding ring project. You can also follow her blog www.oliviaterrelljewelry.com/blog/ and instagram account instagram.com/oliviaterrelljewelry/ for future updates.

Photography by Rebecca Reed

It’s a new visual language that fine artist, Jeffrey Hale, wants us to learn. It has no traditional techniques of perspective, or modeling, and definitely no foreshortening. It’s as if we’ve all been speaking english, and he suddenly wants us to learn Spanish mixed with alien. One thing matters in his world: the two-dimensionality of the canvas. Reduced, fractured objects into geometric forms, and shifting light. You can trace the paint strokes with your eyes.

Why is this girl smoking a pipe?

In the paintings, there are hidden messages. Layers of stories, phrases; ideas born and abandoned. It’s a small glimpse into Jeffrey Hale’s frontal cortex. It’s off-putting and enticing at the same time. Like french kissing for the first time. It’s dark and beautiful. For some civilians it is frustratingly hard to connect with all of the images that appear to have been run over by a bulldozer.

Jeffrey Hale captures the human brain, and all of its intricacies. And it’s so mesmerizing that you can’t look away.

We were lucky enough to tour Jeffrey’s studio in downtown Salt Lake City, to ask him some questions and take some photos in hopes of getting a better glimpse into his daily life.

What is a joyous moment that you’ve experienced recently? I love to embrace my childhood by drawing with my daughter. Recently, we worked on a painting together where she absolutely had an influence on the painting. We kept her lines in the little snowmen and my son even imitated the little figure with bunny ears, which stayed on the final painting. It’s hanging at 15th Street Gallery.

Why did you start? Out of opportunity, necessity, dream job…?  Definitely out of necessity.  Drudging though my mundane 9-5 life, I felt compelled to take a leap of faith and transform my passion into my profession.

Did you have to give anything up to pursue this? I gave up palm leaves, fine cheeses, and sanity.

Besides this, what is another hidden talent, passion, or hobby of yours? I love to cook and experiment in the kitchen. I enjoy bringing people together over a good meal. Additionally, I have a deep respect for Southern Louisiana and their cooking, which brings people together. Additionally, I am passionate about the ocean and the out-doors in general.

Are you close with your family? I try. Certainly, a deep tacit connection exists from growing up and learning about life together.  I am an odd duck and my siblings and parents are fairly well-grounded while maintaining inspiring creativity.

Animal I Would Want to Be Most: Raven, Raccoon, Fox, Deer, Rabbit.

Morning Routine: Ha. Oh, you are funny…

Dream Tattoo: To add a tree with roots to my current tattoo and the words of Langston Hughes, “Hold fast to dreams, for if dreams die life is a broken-winged bird that cannot fly.”

Last Great Book I Read: The Powers of Two by Joshua Wolf Shenk (in progress), Wayne Dyer/Byron Katie audio Making your Thoughts Work for You.

Favorite TV Shows: The Walking Dead, Orphan Black, Game of Thrones, Stephen Colbert and Jimmy Fallon.

Favorite Drink: Anything from the Downtown Disney Rain Forest Cafe.

My Dream Collaboration: A live painting with the band The National in a music video in a box.

Favorite Comedians: Charlie Chaplin, Buster Keaton, Laurel and Hardy, Jerry Seinfeld, Jim Gaffigan, Stephen Colbert, Jimmy Fallon, Louis C.K., Sarah Silverman, Amy Schumer, Ellen, Billy Crystal.

Favorite Song of All Time: Shine and The Other Side by David Gray (and I like a whole slew of music).

What is the most traumatic thing you’ve gone through? Life is a “bittersweet symphony” (dropped the microphone and walked out).

If you could tell everyone in the world something, what would it be? Stop the stigma for Mental Illness.

You can see more of Jeffrey Hale’s work on his beautiful website by following this link.