walnut studios blog

Established in 2007, Walnut Studios, is a community of over 40 multi-disciplinary artists brought together with the intention of offering a great place to work, create and promote each other. This blog will feature the amazing work our artists and feature our community events and partnerships. 83 Walnut Avenue, Toronto, Ontario Canada, www.walnutstudios.com

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Claire Tallarico Discusses Her Own Alchemy

How does working in a communal artist space like Walnut benefit your creative production?

My studio mate Flo Leung and I recently celebrated our first year at Walnut. —a tradition we hope will continue!  From the very first time I came to tour the space and meet Artistic Director Ilene Sova -- the light, the creaky old floors, and the location all spoke to me.  And I love the short bike ride from my home in Little Portugal.

At Walnut, the spontaneous opportunities to engage with talented, generous hardworking artists are a gift. Each day I arrive I see someone or something that gives me pause. It could be running into Teresa Serafina, Ursula McDonell, Anand Jaggernauth, or Rob Crawford for a quick hello. It could be a glimpse of someone’s work in progress that excites and informs my own practice of abstract mono printing and working with live and found objects. Our space is also, while rustic, a respectful and inspiring place in which to work.

What has been your most rewarding experience as a creative person? Why?

The best way to share my most rewarding creative experience to date is to tell a story. Five summers ago, to get over what I thought was a case of temporary writers block, I flipped through a colourful pile of old magazines in hopes of finding the inspiration to finish a languishing short story. Instead what began to emerge from that day and the ones that have followed was collage-making, exploration into papermaking and abstract mono printing and now painting. That same year I also found a creative outlet as a volunteer at the Artscape Gibraltar Point's vegetable garden.  The AGP garden, as well as my own small but mighty City side plot, feed another side of my soul — as I am also a trained cook.  I began to explore how visual and culinary could coexist, or pardon the pun, feed each other.

To combine these interests and shape them to share them with other like-minded artist, cooks and makers has been a most rewarding creative experience.

That shape has quickly grown into Alchemy -- a 10-day artist residency devoted to exploring the synergy between artistic practice and the cooking and sharing of locally cultivated food. Participating artists in a variety of mediums (visual arts, sculpture, photography, performance art, writing or video) are inspired by their surroundings and share food, work and ideas in a communal and creative space. In 2017, we are moving further afield to take advantage Prince Edward County’s lush summer season.  Our home this year is Chef Jamie Kennedy’s farm as well as two adjourning properties.  One of the original 2015 alchemists -Tonia di Riso a visual artist from Red Head Gallery is my co conspirator and co facilitator.  Creating this residency is satisfying and enriching on so many levels –meeting artists from the US, Asia and other parts of Canada and seeing their interest and knowledge about this topic to sharing kick ass dinners and conversation.

What are your personal artistic professional goals over the next year? What are you hoping to accomplish?

Goal One.  My personal artistic goal is to create abstract pieces on canvas, painting with acrylics.  I have worked primarily with paper and think that canvas and wood are the next mediums for me to learn how to work with. I am self-taught for the most part and want to now explore more formal training – either through classes or bartering.

Goal Two: I would like to explore sponsorship /scholarship for Alchemy so that we can offer it more than once a year and offer it to artists principally emerging ones who may not have the funds to participate.  Alchemy is a labour of love — it costs money to house and feed everyone and offer stipends to those who contribute programming. By exploring other ways to finance our hard costs, we could offer more artist/ chefs the ability to participate. I know the interest is there. I know it a unique residency and I know there is more qualified and interested participants then we can accommodate.

By find new ways to share Alchemy I hope to also find a way to contribute to growing body of creative knowledge in Canada and beyond about the intersection of food and art.

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Samantha Emery discusses her upcoming installation at the World Music Festival

What is your favourite piece of art that you have ever produced? Why do you feel this piece was successful?

In 2012 I was offered the opportunity to produce a portraiture of Rose Goad, lifetime editor to the British novelist P.D. James. This oil on canvas work was my first attempt at portraiture. I found it particularly challenging to reproduce the detail and quality of human flesh. Once completed the feedback from viewers and peers was astoundingly positive. Through this process I gained an appreciation of the exploration of my ability to capture the human spirit in this form.

Where do your ideas come from for your projects? How and when do you feel the most creative?

Most of the ideas for my projects come through emotional experiences, particularly through my relationship with nature, based on respect and adoration in the rhythm of natural forces.  Additionally, I find my experiences in human relationships on a personal and intimate level, as well as through social observations, have a profound effect on my perceptions of the natural world. The synergy between these realities has a direct impact on how I develop my work.

What are your personal artistic professional goals over the next year? What are you hoping to accomplish?

I'm currently working on a very large format printed canvas piece with multiple fabric overlays, to include situational lighting and controlled wind movement for a stage set musical production that will debut at a world music festival in Vancouver this summer.

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Jaime McRae discusses capturing the ephemeral in his work

How do other artists inform your work? Who do you look at and how are they inspiring you?

I am really drawn to artists like Gustav Klimt, Piet Mondrian and other painters who have a graphic quality to their works. I am also drawn to the energy of movement and motion that is found in the likes of Van Gogh, Tim Bavington, and Victor Vasarely to name a few. I love the concept of juxtaposition within a piece of art. In my own work this can be seen in the play between the organic nature of a manipulated photographic image and  the energy of painted vertical stripes. I am also using the digital tools that have become a part of art making, to enter into these design elements as well. By manipulating my photographic images in a digital light room,​​ I am able to add to the interplay of movement and design.

How is working in a communal artist space like Walnut going to benefit your creative production?

Before arriving at Walnut I shared a studio space with another artist. I loved the quiet atmosphere of the space and the  artistic relationship that developed with a fellow artist. Unfortunately, the other artist was moving to Richmond Hill and we needed to give up our studio space. I was confronted with the prospect of carrying rent that would have been too much to handle by myself and I did not want to go through a search for another artist to come into the space. I was directed to look at Walnut Studio and found during my tour of the space, that there was a great energy about the common space. Sharing the studio with so many other artists has resulted in immense growth for myself. To watch other artists engaged in their creative processes and celebrate their small and large victories is so rewarding. Having the feedback from such a diverse group of artists working in a myriad of artistic expressions, has helped me to express my artistic direction and to gain confidence in where I am going with my art. There is something powerful about being surrounded by other creative people who are working through this journey as an artist.

Where do your ideas come from for your projects?

Having lived in Toronto’s urban environment for most of my life, I was constantly surrounded by the sounds and sights of a changing and emerging city.  As a photographer, I was acutely aware that each image captured was a time capsule of that urban moment. Each image was never to be experienced again. Much like the concept that the macro universe continues to expand outward, so does the micro city I have chosen to live in. My mixed media pieces, play with this expansion. Iconic symbols that represent this city can frequently be found in my work. While people who ride the streetcars every day can point out the downsides of this form of public transport, there is no denying the sounds and the images of streetcars with the city. My images are sometimes clearly connected to clarity of the object or space, but have an enhanced persona to them. At other times the images are mere suggestions of a time and place within the scope of the city. I never leave home without a camera in my backpack. If I ever did I know that I would miss a great photographic image that I could work with. And those missed images will never repeat themselves in the same way.

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ilona staples talks artistic liberation

How is working in a communal space like Walnut benefiting your work?

I used to do sculpture/installation. My shared space at Walnut Studios is just right for me now as I am working small with collage and painting and have no plans to promote myself or show my work publicly. It is very liberating not to have to worry constantly about making it in the art world. I enjoy Walnut Studios because I am surrounded by signs of creative chaos and energy and at the same time find it a quiet and contemplative place to concentrate on my work. Seeing the work of other artists at Walnut motivates me to improve my own efforts.

Where do your ideas come from for your current projects?

My experiments with collage and painting are abstract because I haven't found a subject I am passionate about. I am using letterforms and various shapes as a way to learn colour, composition, line and form, matters which I didn't focus on as much when doing installation, and hope to move away from a design approach to a more painterly approach. 

What artists are inspiring to you right now? How do they inform your work? There are so many different artists and so many styles to see nowadays, either in galleries, magazines or on-line, that I don't follow or try to emulate anyone in particular. I look at other artists' work in order to assess and critique my own, to overcome my limited imagination. I feel I am constantly trying to keep up with other artists, to learn from them and apply the aesthetic values that are popular in the postmodern art world. At the same time, I feel more attracted to early modernism than postmodernism.

To see more of Staple’s work visit her site here!  

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New Walnut Artist Anand Jaggernauth Tells Us Why He Left Science for Art!

What is your favourite piece of art that you have ever produced? Why do you feel this piece was successful?

My favourite piece of art was my most recent, Rebirth (2015). It’s 4ft x 4ft and was a corporate commissioned piece. This was the first piece of the start of a huge opportunity I was thrilled to be selected for – Resident Artist for the NEO Exchange, Canada’s new national stock exchange. Rebirth represented my interpretation of the company’s culture and presence in the Canadian market. I was so happy they loved it, and it’s now displayed in their lobby. My next piece is due at the end of March. It involves a lot of research and I can’t wait to get started! To see a video click here: https://aequitasneoexchange.com

Where do your ideas come from for your projects? How and when do you feel the most creative? 

It’s been just over a year since I decided to resign from a successful Science career to pursue my passion for art full time. A year ago, I had so many ideas but what occurred was a natural unfolding process as I begun to find my voice as an artist. I started off with a pastel coloured series which had more of a calming and meditative feel. Recently, I’ve unintentionally shifted my focus to merge my Science background with Art – allowing various types of medium to react and play on canvas. I think it’s important to trust yourself, work hard and not always control what you want to create. The times I feel most creative is in my space at my studio with my art shoes on!

What are your personal artistic professional goals over the next year? What are you hoping to accomplish?

I’m truly humbled and thrilled at the opportunities I’ve had within the last year and can barely wait for 2016. I kick off the year in February at The Artist Project and then look forward to being a part of other shows in Toronto throughout the year. I want to go into 2017 as an accomplished and recognized Toronto Emerging Artist. I’m also a member of VIBE Arts for Children and Youth and look forward to being a part of their 2016 art programs and events.

To see more of Anand Jaggernauth’s work - visit: 

https://www.anandsart.com

https://www.facebook.com/anandsart

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katrina schaman explains her creative passions!

What are you more passionate about in your creative practice? What are you hoping to communicate? I struggled to find my own distinct voice and style  as an artist through university. It’s hard when you’re inspired by so many different people and art forms — I found myself dabbling in many areas but was unable to find my true passion. It wasn’t until after I graduated and stopped trying to force myself to have this "perfect unique style" that one began to emerge. Years later, I'm still learning and growing as an artist but I'm very happy with the style I've developed. I paint semi-abstract Canadian landscapes, with a emphasis on creating movement and flow, using a mix of acrylic paint, graphite, prints and paper. I don't want people to look at my work and just see a painting of a tree or forest — I want them to actually feel the wind in their hair and the rocks at their feet. I want my work to live up to our whimsical imaginings of how we want our world to look. I want to paint the scene's we know with a little extra magic :)

How is working in a communal artist space like Walnut going to benefit your creative production?

Joining Walnut Studios was definitely one of the best things I've done for my career so far. Before this, in an effort to save money, I would always just work from home, which I found negatively effected both my creativity and general happiness. Loneliness aside, when you roll out of bed in the same place you work it's quite difficult to stick to a routine and far too easy to get distracted. I come into the studio most days during the week and it's so amazing to have my own dedicated work space as well as having other artists to talk to thoughout the day. Also, Walnut is actually a lot more affordable than I initially assumed a downtown studio would be.

I do have one regret - I wish I'd looked into studio options sooner and joined years ago!

What has been your most rewarding experience as a creative person? Why?

One of the most rewarding experiences as an artist is talking to people who immediately understand my work and what I'm trying to say through my paintings. I've had people I've never met before come to me and essentially quote my artist statement back to me without ever having seen it which is amazing! Much like most artists, I think it's important to create your work for yourself and not cater to what you think other people want you to paint. I think this is why it's such a great feeling when other people are on the same page as you. It's like — I made this painting for myself, based on how I was feeling and it speaks to this random stranger the same way it speaks to me. When this happens I feel a connection with that person and it is such a rewarding, hard to describe feeling!

To see more of Schaman’s work click here

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angel fung shows us her designs

How is working in a communal artist space like Walnut going to benefit your creative production?

Working in a communal artist space like Walnut provides focus and motivation towards a similar or parallel goal as I become immersed within a creative bubble.

What is your favorite piece of art that you have ever produced? Why do you feel this piece was successful?

My favorite piece of art that I have ever produced is the Egyptian inspired broad collar bib necklace.  This statement piece created with imported freshwater pearls and silver is luxurious, whimsical with an understated elegance to the necklace.  I feel the success is on the versatility of this piece and its classic charm making the design timeless.

How is working in a communal artist space like Walnut going to benefit your creative production?

Working in a communal artist space like Walnut provides focus and motivation towards a similar or parallel goal as I become immersed within a creative bubble.

Website: www.angelfung.com

Webstore: www.myepiphanyco.com

Twitter: myepiphanyco

Instagram: myepiphanyco

Facebook: myepiphanyco

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steven papadopoulos talks about the importance of space

What is your favorite piece of art that you have ever produced? Why do you feel this piece was successful?

 If I had to choose a work I would have to say it was my first video installation I did in Glasgow ‘Up Down Left Right’ 2013. The overall experience is what made it successful to me. It was my first solo exhibition while I was there and it was something I had never attempted before. The production of this film provided me the freedom to explore another medium other than drawing and painting, as well as collaborate with another artist for the first time. Funny enough, the piece was accepted at the CitizenM 2015 Show in Glasgow two years later.

How is working in a communal artist space like Walnut going to benefit your creative production?

Having a space such as Walnut has been beneficial because it can be very lonely for an artist without that community. Returning from Glasgow after doing my Masters was a hard transition. I had no material, no studio, but most of all, I had lost that hive of artists that I spent 2 years with. So, finding a space with Walnut helped restore that hive again, as well, the opportunity to communicate with others about your work especially the ‘critique’ side of it all. The benefits of having a fellow artist respond and provide critical feedback of current work is a helpful resource to have as an artist.

Where is your dream/fantasy place (gallery/museum, etc.) to feature your work?

Currently, it has been about location. I have seen some great spaces and abandoned structures that are not necessarily part of an institution that I would like to show in. I like high walls and open, clean, crisp space. In addition, while living and working in Toronto, I would like for something to happen here. I create work based on my surroundings and my daily activities, so it would make the most sense for me to show within the location of where the work was produced.  Although, one day I hope to show in Scotland and take part in Glasgow International Art Festival, possibly also show in Berlin. I also loved the space of the White Cube Gallery in London.

To see more of Steven Papadopoulos’ work click here to go to his website

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walnut artist richard jansen talks goals and inspiration

How is working in a communal artist space like Walnut going to benefit your creative production?

For the last 5 months I have been working in a bubble relying heavily on digital inspiration or the things in my little space. One of the most inspiring and creative periods in my life happened in my final year at art school. There was a large communal working space with around 15 other artists. Just walking in the room gave you access to new techniques, styles, mediums, supports, sounds, etc. I am looking forward to that level of inspiration to push my creative production even further!

What is your favourite piece of art that you have ever produced? Why do you feel this piece was successful?

I am not sure it is/was successful but to me it stands for pushing myself out of the artist box I created for myself. I forced myself to work on detail, every brushstroke and creating a realistic representation of this creature. This piece is my motivation to explore the medium and subject further in my future work.

What are your personal artistic professional goals over the next year? What are you hoping to accomplish?

Simple: meet a ton of great creative people to share my work with and hopefully have them share with me. I would love to be represented by a gallery a year from now but I truly just want to create art that I am proud of that represents my vision and true self.

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noelle mok gives a window into her creative process

Where do your ideas come from for your projects? How and when do you feel the most creative?

My relationships with my family, friends, and God as well as contradictions inspire my projects. I enjoy delving into contradictions such as the old vs. new, or digital vs. analog to bring out the multiple intriguing questions or topics that can foster new ideas or approaches. I feel the most creative when I am successful at bringing out a new idea or a new approach (which is not often unfortunately; still practicing) because I have taken the first step to validate the creative idea. My relationship with my family, friends and God fuel me and ground me to look beyond the norm because they have given me all their trust and support to become a person who is constantly seeking creative ideas (even when I constantly face artists’ block) to nurture and cultivate into something worthy of appreciation and discussion.

What are your personal artistic professional goals over the next year? What are you hoping to accomplish?

I am aiming to create a portfolio to apply for masters while trying to explore different ways of painting food. I am hoping to practice loosening and tightening my style so that I can easily go back and forth between different stylistic approaches and maybe combining them into one work. For my masters application, I will need to continue calling and researching into different schools and programs to find out which would be a potential destination. 

Where is your dream/fantasy place ( gallery/museum etc ) to feature your work? Why? Explain...

My dream/fantasy places to feature my work in would be either alongside masters such as Manet and other Dutch artists, the AGO, galleries in Hong Kong or at a art conscious home where someone would truly cherish my art. It would be an honour and a privileged experiment if I could place my modern versions of Dutch still lifes next to historical masterpieces. Featuring at the AGO would demonstrate a certain level of success within Canada and whether that becomes true or not, I have nothing to lose right now to pursue that dream. I would also like to feature in Hong Kong galleries because I am very eager to see what their reactions will be like towards my art, especially when my subjects are heavily influenced by Hong Kong. Ultimately, it would be enough for me if someone were to purchase my piece as investment and enjoyment; it would be an honour to develop a relationship as a patron and friend.

To see more of Mok’s work click here

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adria mirabelli tells us what informs her work

How do other artists inform your work? Who do you look at and how are they inspiring you?

My inspiration comes from many different places! Some of my favorite artists are Cornelia Parker, Anne Hamilton, Travess Smalley and Tauba Auerbach. I also really enjoy the work of Toronto artists Niall McClelland and Jennifer Rose Sciarrino. There is a long list of garment and set designers that I find incredibly inspiring and will refer back to. Artists who push traditional materials and ways of making inspire me the most, no matter what the field! They inspire me to challenge myself materially and conceptually.

What are you more passionate about in your creative practice? What are you hoping to communicate?

In my creative practice I’m most interested in creating objects that have a distinct presence, in that they elicit feeling in the viewer, - almost an aura that can be felt during the act of viewing. Material exploration definitely drives my practice and keeps me endlessly engaged in making! Combining digital and hand processes such as digital printing on fabric and papermaking is currently a huge interest of mine and something I plan to push further as my work progresses.

Where is your dream/fantasy place ( gallery/museum etc ) to feature your work? Why? Explain...

My dream/fantasy place to show my work would have to be The Palais de Tokyo in Paris! I visited this gallery many times while I was studying at Parsons Paris, and it was such a fantastic space, showing incredible artists from Europe and abroad.  Exhibiting a combination of installation, to drawing and painting, to integrated media and performance, this gallery was so wonderful and such an inspiring place to visit. Really a unique and exciting place for art!

To see more of Mirabelli’s work click here

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rob elsworthy tells us about his goals

How would you describe your best working conditions for the studio? What kind of environment/conditions foster your best work? I like variety and experimentation. working around artists from different disciplines is inspiring, kind of like my college years at OCAD. i'm hoping that i can rely on others expertise and experiences as i explore my artistic boundaries here. there is a randomness and movement that i love about collectives. I'm hoping the vibe inspires me in ways that can't be duplicated when working in isolation.

What has been your most rewarding experience as a creative person? Why? There is the pride and satisfaction from seeing an idea executed and released into the world to be appreciated by others. Personally i enjoy making things with my own hands and expressing my perspective visually. tapping in to that creative source we all draw from is a great feeling...a definite high. Some of the best times i've had professionally were working with two or more people in close sync. I find it really energizing to bounce ideas around, and end up with something even better by collaborating.

What are your personal artistic professional goals over the next year? What are you hoping to accomplish? My plan is to get enough work together to have a show, solo or collaborative by the end of the year. I've also given myself some time to pursue other things i'm interested in like writing and design. I've been lucky enough in my career to have this window of opportunity, so it's time to get some things done I've dreamt about since i was a child.

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niloo inalouei tells us about her inspiration

What are you more passionate about in your creative practice? What are you hoping to communicate?

My art practice is ingrained in the human body. My current body of work explores my intimate relationships with others and questions how our relationships define us and the human experience. In my paintings, I reflect on the emotions and energy embedded in the gaze and gesture of my subjects. My work explores the variety of human impressions and questions the notions of the invisible and unseen. I am hoping that my work creates a physical energy and raw emotion that illuminates the  soul and motives of my subjects.

Where do your ideas come from for your projects? How and when do you feel the most creative?

My ideas often start with a blurry picture in my head. They are mostly inspired and influenced by seeing other artists’ work, reading and researching about art. I usually spend a few months with the new thought as it gradually becomes a clear image in my head. Then I start a new project  when I feel comfortable to converse my ideas into art.

What are your personal artistic professional goals over the next year? What are you hoping to accomplish?

Over the course of the next twelve months, I am planning to follow through several new artistic ideas. One of my biggest dreams that I keep close to my heart is to go beyond my current art practice. I am planning to explore different materials and different forms of creating art. In this time I am planning to make a kinetic sculpture that explores the human body and the human emotional experiences. I hope that this kinetic sculpture will generate a bridge between my paintings and other creative forms of art.

To see more of inalouei‘s work click here

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sara naimpour outlines her creative process

I have always loved collecting, organizing and making small objects and finally displaying them in a nice way. It may sound cruel, but from butterflies that I used to catch as a kid and put in a photo album, to pencil collection of my friends in their fancy display closet, I enjoyed spending time with objects. As I grew up, this passion of mine somehow resulted in my interest in both fine art and design and studying industrial design and photography. 

You play a lot with color in your compositions. Describe your creative process or ideas behind this?

Lights at night attract me a lot, I enjoy low-key light compositions, and believe that they better highlight what I want to show, and there is less distraction in a low-key light setting so to say. I also like the way that lights affect the sensation of an image in a mysterious way and make them feel dreamy. Our eyes are equipped with a natural white balance setting that would ease our process of seeing and balance all the different color temperatures into a “standard” white. Whereas photographs need to be manipulated to look more “natural”, I tend to like this playfulness of colors in low-key light sceneries and not to correct the white balance. I think I am influenced by my drawing teacher and her paintings most of which painted in a low-key light setting displaying Tehran, or of a private space at night. After doing some projects at night and paying attention to every little spark of light in my compositions, I became more cautious to the role of color even in my daylight compositions.

Your photos often have a lone female figure. Who is this protagonist and what does she represent in your work?

In my series “best of our memory lies outside us” the protagonist is myself; that is a series of self-portraits taken in Tehran before I moved to Toronto. In my other series “soft migration” the female figure is my close friend modeling for my photos. The series however tells the story of her, myself and many of my friends who moved from our home country not for one solid reason, but because of so many little reasons that may not be regarded that important but all together had made us leave.

How do you hope Walnut Studios will be able to help foster your creative growth in your next series?

I first heard about the Walnut studio through a good jewelry designer friend of mine who has a space at Walnut. When I came and saw the space, I really liked it and wanted to have my space there right away. It is a great atmosphere and gives me the opportunity to get to know so many amazing artists and get inspired. Also I hope Walnut can be a great place to gain more exposure for my work in the vibrant downtown Toronto.

To see more of Naimpour’s work click here

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walnut artist ursula mcdonnel shows at arta gallery

Ursula is a Toronto born artist. Her body of work consists of haunting portraits and colourful Mixed Media abstracts.   As a child Ursula sat with her father and learned how to draw. She grew up to have a passion for art throughout grade school and high school. While studying math at University of Toronto, Ursula managed  to maintain her interest in art.

How did the show opportunity come up? What was the concept behind the show? The owner of Arta Gallery  was looking for some portraits for a client and reached out to an artist friend of mine. He sent her examples of my work and she approached me to be a part of her art show called Connections. It was a great opportunity and such a testament to artists supporting artists and the opportunities that come around when we all work together.

You also do abstracts which is very unique- how are the portraits different in approach for you?

The portraits appeal to the type A part of my personality while the abstracts give me a chance to escape that side of myself.  I can get very intense about my portraits I always feel like the process takes me somewhere other than where I am painting. Quite often I find this draining and I will pour myself into an abstract in order to ground myself.  Some would argue that my feelings about my portraits and abstracts should be in reverse, but that is the way it is for me.

How did your work fit into the group show - were you inspired by the other artists in the show - how did it all "work together"?

I felt all of the pieces in the show were very different visually but the connection each piece had with the viewer was similar.  All the pieces in the show represented an intimate moment in time. 

How did this opportunity benefit you professionally? 

This show was a great step in my career as a portrait artist and an artist in general. I was able to hang my portraits in a venue that complimented them and meet people who I would not have otherwise met. I found people received my portraits the way I wanted them to. Some said they felt as if they could pick up a conversation with the subjects and wanted to. Most of all this  opportunity gave me the confidence to keep on painting. 

To see more of McDonnell’s work click here: http://ursulamcdonnellart.com/

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carol ann apilado joins walnut studios

1. Tell us a bit about yourself (background/bio) and how you ended up making the work you are making now.

When I was really young, I would draw a lot, paint and make a mess, and even make cardboard furniture and little detailed things for this dollhouse I had. From what I can remember, the stuff I did wasn't very good. However, those interests from when I was young definitely carried on to where I'm at now. I got a degree in Interior Design and now I'm working for a company called Unit 11, where we design, conceptualize and build custom props, sets, stages, and so on. In the studio, my initial intent was to explore and find balance from the rigid structure and control from the design part of my life and who I've become in general. So the past few months, I've done a lot of different things and there's no real "style" to anything I've done. But that's because my focus has been on exploring and rediscovering; remembering things that used to make me feel good, doing things I've forgotten about while I was in school and when I'm at work.

2. You chose some of your new works to showcase here - can you tell us about how you came up with the ideas and inspiration for these works? I'm not even sure where to begin when it comes to what I showcase and leave in the studio. From the top of my head, there's a desk and two stools I got CNC cut at work with no glue or nails necessary. I have a few small 3D printed things. I have a some paintings of my godson and his brother. I have some pottery hidden in a box somewhere. I have some paper folds and some other canvasses. I have a small oil painting I recently did of my partner. In a nutshell, those are basically all the things I love and inspire me. I love working and creating with my hands but I love working with computers too. Also, my godson, his brother and my partner are all a great inspiration for me at the moment. Their youth, innocence, freedom and appreciation for life is refreshing.

3. You use a variety of materials and approaches when you work. Can you talk about your attraction to working with a variety of mediums?

In the last few years, I've worked with a lot of spray paint because it's easier and faster to paint big, it dries faster and gradients are easy to achieve. Lately, however, I've taken a break from the fumes and I'm slowly getting back into acrylics, clay, inks and oils. I also hope to begin making scale models again. At the moment, I have no specific reason why these materials and mediums attract me except that I'm exploring again. I'm learning and figuring things out as I go.

4. You play with colour a lot in your work. What motivates your colour choice and how do you think it communicates with your viewer?

When it comes to colour, that's all I do--play. For the most part, it's instinctual and I just work with what's available to me. I haven't had any training or studied colour in depth so it's kind of funny writing about it. I'm not sure how my colour choices affect the viewers, but I hope it makes them feel good.

5. How does working in a shared space like Walnut contribute to your development as an artist?

Generally, I'm introverted and prefer keeping to myself. But I know that sharing, interacting and collaborating with other artists is really important when it comes to my growth as an artist and designer. It's nice being around like-minded artists and bouncing off of each other's creativity. Being around other artists also pushes me to keep creating. So far, it's been a great experience at Walnut and I look forward to meeting the other artists I haven't met yet!

[walnutstudios]

walnut artists deanna mccaw and brooke wayne team up to create cosmological fantasias

Deanna McCaw has a BFA in Drawing and Painting from OCAD University and is currently balancing full-time work in concurrence with an emerging art practice. She is primarily interested in process-based abstract work, with focuses on colour and fluidity. She currently creates her solo pieces with acrylics paints, but through her collaborative practice with Brooke Wayne has been exposed to other mediums and working methodologies. 

Brooke Wayne has a BFA in Drawing and Painting and a minor in English from OCAD University. She currently balances full-time work concurrently with freelance graphic design jobs and an emerging art practice. Her practice is heavily influenced with research-based work centered around astronomy, colour and science. She primarily works with oil paint, but through her collaborative practice with Deanna McCaw, has begun to explore process-based methodologies as well. 

"First and foremost we are friends and have been prior to working together as painting partners. We think the foundation of our friendship combined with our complimentary aesthetic tastes created the perfect storm of collaborative success."

1. tell us the story of cosmological fantasies. how did this idea and artistic synergy come about?

 It was during a critique in a painting class at OCAD U, where we all were showing our individual works to each other. Our professor commented that our work, although not identical, shared common qualities that showed potential in working well if we decided to collaborate on a painting. For the second individual painting project, we proposed making a collaborative piece in lieu of separate works. It ended up being a positive and successful experience, spurring a continuation of what would become Cosmological Fantastias. 

 2. what is the artistic goal of the project? what are you trying to communicate to the viewers?

 Our goal is to successfully bring together two different mediums and working methodologies to create hybridized images. We combine both a research-based practice (Brooke’s) and a process-based practice (Deanna’s) while exploring our mutual love for abstraction and colour. The end result is a synthesis of our aesthetic preferences and our solutions to the technical challenges of combined mediums. 

  3. give us a detailed run down of how you collaborate. artistic collaboration is thought of as a difficult process because people's egos often come into play. how do you make it work?

 We bring our individual expertise into the collaboration with our primary mediums while being receptive to feedback from the other partner. The composition is decided during the acrylic stage with Deanna’s pours which can take anywhere from 1-4 layers, followed by several layers of clear gesso, then 1-6 layers of oil paint by both painters. 

 “Making it work” is a bit of a misnomer because it implies that it’s something that is a challenge for us. First and foremost we are friends and have been prior to working together as painting partners. We think the foundation of our friendship combined with our complimentary aesthetic tastes created the perfect storm of collaborative success. 

    4. how does sharing a studio space at Walnut aid in the success of the collaboration and project of Cosmological Fantasies 

 We sought out a studio space together because we wanted to be exposed to each other’s individual practices while having opportunities to collaborate together, all in the same space. Having a studio at Walnut is great not only for the public exposure but allows us to access the casual atmosphere of interacting with other artists, two key elements crucial to keeping our practices ongoing. 

  To see more of Deanna's work, click here!

To see more of brooke's work, click here!

Check out the process of Cosmological Fantasies here!

Visit their Facebook page here!