INTERVIEW | Christian Nicolay

CHRISTIAN NICOLAY IN A BOX
UNEXPLAINED

Sometime ago, I met Christian in a cold, damp, possibly danger filled basement, to the sounds of a typewriter… typewriting. Or was it a swamp swamping? Hmmm. Hard to recall, but more interactions followed, including magazine features, unicorn talk and last but not least, memories of Yoda’s privates. He is possibly our most featured artist, but we sincerely don’t know how to count, so you might have to check out issue number Five, Six, Seven, and Nine to figure it out + read this damn interview to know why we just can’t get enough. Do be aware of the side effects. Words can and might just change your life for good, so do not say we didn’t warn you.

The choice is yours alone.

PART I : LIFE
Lexa: Do you think it’s an uncommon or a new thing to be multidisciplinary?
Christian: Nooo.
L: So how do you divide it up in a year? Some people say working on a number of things will distract you, instead of inspire you…
C: I don’t think it’s a new thing at all. I think so many artists over time have had a variety of different processes and worked in a variety of different mediums, especially now with globalization, and cultures merging, having different rituals, acts or mythology. I think it’s maybe just speeding up, but it’s nothing new. We have different access to technology now, like we never used to, and this different type of access allows for the layering and making of more hybrids of traditional processes. Taking multiple forms of traditional ways of mark making and making it unique to yourself in an immediate and spontaneous way, and being able to share it immediately by having a cheap video camera and a YouTube page. And boom, you’ve got video that’s going “out there.” I think that’s multidisciplinary. Even all the things you have to know just to create a little movie and put it on YouTube. And then, if you’re creating all the videos, making the costumes, etc.

I think what’s new, for me, is that there are a lot more people in my life that are doing the same thing and that I can collaborate with, whereas 10 or 15 years ago I wasn’t around that many people doing that. Nowadays, more creatives are open to that idea. The opportunity to work with people from different fields has presented itself later on in my life. It’s not a new idea, but it makes my process new, because now I’m working with this person, and that person, and oh, that person, and that changes my vocabulary. And that’s art, that’s life, that’s beauty, that’s evolution, it’s de-evolution. And that’s why I do it. I love interaction and storytelling.
L: Has it gotten you closer to seeing Yoda’s dick?
C: Yes. Every night I have a dream…

So this would be sort of it, in a nutshell.

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INTERVIEW | Ehren Salazar

Ehren Salazar

The man.
The machine.
All those little lines. All that time. All that effort. All Ehren.

1.
L: How do you feel as a multidisciplinary artist wandering about on the occasionally dusty roads of Vancity?
E: How do I feel about being an artist in Vancouver?
L: Yeah, and a multidisciplinary artist in particular?
E: I guess for me it keeps… At least life is never boring, but at times I feel like my attention is spread too thin, that I’d like to focus on one thing and I wish that’d be something I was better at doing. I think there are a lot of artists in Vancouver that wrestle with that… But for my work, for instance, that is kind of a training ground for getting things done quicker and working in a style that isn’t as natural for me (tombstones). It involves very vector-line designs, and working off other people’s ideas and what they want from me. But being a multidisciplinary artist…hmmm.  What can I say? I don’t focus enough on dancing. (Smiling) My dance practice is super rusty, but I will throw spin arounders in my day…quick spins. That sort of thing.
L: What kind of dancing do you do? Ballet?
E: No, no I’m joking.
L: I know, ha ha.
E: I like dancing, but…
L: You don’t do it…
E: Yeah…
L: State your “real” disciplines.
E: I draw. I try to draw everyday. And living in this new place has made it possible, in that I can have a mostly clear head. Having a designated area for my art, not just working out of my bedroom or out of cafes. Sometimes you have a designated drawing space, but you can’t focus because it’s at home, so you end up working better at The Grind or other coffee shops. Somehow in a public space you can focus better. But yeah I do: drawing, painting, animation, as well as tombstone and monument design. There is also running a gallery, and trying to play more music, as many music shows as I can… Trying to be a better guitarist. What else do I do? I don’t know if that answers your question.
L:  I don’t know what the answer is either…
E: Who knows?  No one knows the answer to that question.
L: Hmmm, that is probably true, but… would you like to remain a multidisciplinary artist?
E: I would, yeah, if I could. And make a living doing all those things. Music has always been more of a hobby, and I don’t ever anticipate any money coming in from music. But to have a full time job. Right now it’s with Pacific Spirit Stone Designs. It’s a small company. It’s just myself and my boss, and we’ve recently added a third person. There’s no shortage of work, which is good.
L: People keep dying on you?
E: Well, yeah, but we also…Ha ha, it’s the pun. But there are also other things, like parks… We recently did something for Port Moody’s City Hall park, so there’s landscaping, like building retaining walls. We do designs for water fountains made of stone and stone benches, so it’s not all tomb stones, although the bulk of it is.

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INTERVIEW | Dina Maani

Sitting Down with The One and Only Panda
Dina Maani
Editor -in- Chief

If this shit isn’t bananas, then it must all be strawberry rhubarb tartines and purple coloured palm trees or else the world don’t make no sense. Two years ago, this strong willed banana put on her shiny panda coat and decided to start a magazine. Not only has she gone from 0 to 60 on the meter of ridiculous accomplishments, but she has also been managing to become even more damn great to talk to at any given point in time. So now, on the brink of saying goodbye, Dina code name: Weena will start by saying hello. Let’s enter her world for a dash, shall we?

[0] THE HELLO
D: Hi, my name is Dina. How are you today? Nice to meet you.
L: Nice to meet you too. Should I move on this side of you? I hate hearing my voice.
D: You’re fine.

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INTERVIEW | SP Williams

As we started to work towards wrapping up our lil’ mag and making final decisions on who in the world is left to interview, besides absolutely everyone, we unanimously decided that Skewed needed SP Williams’ voice in here to complete a fine pool of insight and wisdom, with some undertones of niftylicious life experience. Coming to you live, all the way from Germany’s capital, where the rest of the painter currently resides, are carefully unwrapped pieces of SP’s brain. A generous X-Mas present indeed, so all of you lovely readers better take good care of it ‘cause it will keep on giving. Happy Holidays from Skewed + our wicked artists, including this one right here. Now read on up everyone…

1. At the start of the week, it’s only Monday, but where does the week end for a practicing artist?
Many practicing artists have second jobs (teaching art, design, illustration, cleaning toilets, etc.), so painting is done in every spare minute you’ve got! Weekends are often a productive time for me.

2. How did you begin your artistic career and how long ago was that?
For many artists including myself, you just make art because it’s what you love to do and a career grows organically over time, or not…

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INTERVIEW | Kevin House

Like Channel No.5, but significantly better, Kevin House has been guilty for a while now, of bestowing upon the art world intricately crafted pet portraits, intricately crafted musicianship, intricately crafted miniatures that ‘kill’, and most recently, intricately crafted switchblade swinging renditions of footwear. The latter were part of Shoe Side Story, an exhibit that took place at The Red Gate Gallery in Vancouver.  We sat down with Kevin in a giant shoe, guarded by an undisclosed number of significantly smaller ones to bring these questions your way, before the KGB realizes how great shoes are, and kidnaps Kevin from our midst.

Even issue #9 feature, Curtis Santiago, had some high quality input on this matter.

CHAPTER 1
Who is Kevin House?
Who is Kevin House? Can’t you just email me these questions…
Really?
I think that would just be easier…
Perhaps you should answer the first one, as I take pictures; the recorder is on your knee.
Ok. Ok. Is it on?
Yep.

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INTERVIEW | Caroline Weaver + Jaime Bizness

There’s a rumour spreading around town and it involves two birds, a feather and some painted leather. As a predominantly figurative painter, Caroline Weaver regularly tackles themes such as Anthropomorphism, Idealism and Mexicats. Jaime Bizness constantly experiments with a diverse range of styles, mediums and themes, exhibited anywhere from gallery shows to live painting events. When considered apart, their individual aesthetics are so strong and unique, that the average gallery goer might say adding new elements would be “detrimental” and yet…the works themselves strongly disagree. Caroline and Jaime have a couple of words on that matter of business as well…

Lexa: How did you two meet?
Caroline: We actually met years ago (I don’t know if Jamie remembers this!), when I bought a painting off of him on the steps of the Vancouver Art Gallery. Two seasons later, in the spring, I went back to see if he could look at the paintings I was working on, for a critique, and he was there!! About two years later, my friend Lupe Martinez and I were at a convenience store by her studio. Jamie was in there too, showing us the tattoos he had just given himself.
Jaime: We met in a convenience store beside the Red Gates. I had just done a tattoo on myself and ran to the store to get a cigar. Caroline was in there with Lupe, they said hello and we got to talking about how she was chillin’ at Dynamo. From then on we hung out and “talked shop.” ;)

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INTERVIEW | Jose Antonio Madrazo

Jose Antonio Madrazo was born in Mexico City, but now calls, San Miguel de Allende, home. It is afterall where his studio, Cielito Lindo Estudio, is based. There, he produces his internationally-renowned nichos, Mexican shadowboxes, displaying Day of the Dead (Dia de los Muertos) themes.

Each nicho carries miniature and detailed skeletons inside, representing the dead enganged in lively every-day activities. The outside is meticulously hand-painted with traditional motifs.

The nichos are made of hand-forged metal, wooden figures, ceramics, Mexican folk sayings, and Dia de los Muertos motifs elaborated in elegant hues and electric colours. The formula is to come up with a phrase and then develop it using anything from cigarette packages to recycled glass and tin, in addition to sequins, glitter and little trinkets, such as religious folk charms, beads and other manufactured and found objects. Traditionally, nichos are hung in a home to bless the house.

All the Voices Against the Silence

Antonio’s New Folk Art style and sense of humour transcend cultural boundaries and his works have been exhibited around the world before coming to Vancouver.

Recently, we posted about Antonio’s Celebrations of the Day of the Dead show at the Ferry Building Gallery in West Vancouver. Intrigued by his work, we had to know more… Antonio was kind enough to take time from his busy schedule to talk about his art and inspiration with Skewed.

What are the Day of the Dead celebrations (Nov. 1-2) like in Mexico and how did you celebrate this year?
They are full of energy and tradition. Many people make their ofrendas (altars) at home celebrating the family members that have passed away. Also, they go to the cemeteries to decorate the grave sites with flowers and candles. This year, I went to see the ofrendas made in San Miguel’s main square for famous characters from this town, and I made an ofrenda for family members.

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INTERVIEW | Terri Potratz

LARRY. LOBIRD ROAD
COLLECTION LAUNCH
2010 – 2011

In a cozy little corner, within a gallery space by the name of grace, a discombobulated Lexa had a the chance to catch up with the oh-so-well put together Terri Potratz, the stylin’ queen of locally sourced alpaca creations.

The celebration of Larry.’s third year of existence also introduced locally and internationally sourced human beings to Terri’s latest design work The Lobird Road Collection 2010 – 2011.

This brand spankin’ new line includes an aesthetically diverse range of shapes, a mix of processes and an unique collection of accessories, created as a collaborative effort between Larry.’s leading lady and ZULA’s Urszula Petrykowska.

Words were exchanged…

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