Art Archives

In the Studio with Craig Colorusso-Part II

November 25, 2015 by Heather Filed Under: Art, Art & Design, In the Studio, Inspiration & Education, Organize, Photography

How did artist Craig Colorusso fit an 80,000 Square Foot Installation into a mini-van? We met while I was a docent during the recent installation in Charleston of Sound + Light and Craig not only agreed to do this interview (see Part I last week with photo’s of his studio in Arkansas) but suggested it might be interesting to watch him dismantle and meticulously deconstruct and pack out the entire massive 4 part installation into his van. This week I’m excited to share his installation pack out and some specific questions related to his process!

Inside the Studio with Craig Colorusso- Sneak Peek Part II

From this…

HKPS:: How much thought do you give to your artistic body of work in terms of historic value and the overall legacy you will leave behind? How do you store/archive your work or records?
CC::I now save everything. When I was younger I had a great memory. I could remember whole tour itineraries not anymore. I save everything I can now mostly so I can show my daughter someday. But I’m also leaving myself a breadcrumb trail. I meet so many amazing people in my travels I hope to document them all.

The next few questions are specific to Craig’s installation, planning and transportation of art.

HKPS::How long have you been creating art for installations and do you always deliver and install your own works?

CC::In 1996 I did a show called Maschine. Joel Westerdale, drummer of China Pig and I worked at a print shop in Danbury CT. Somehow we convinced our boss to let us do a show in the shop. So, we woke up at 4am a few times to practice before anyone arrived at work. It was great to start that early. Looking back I always enjoyed being awake doing things when it seemed like everyone else was asleep. And I like warehouses. Anyway, we composed a piece of music for instruments and two offset presses. 2 AB Dick 360’s. We brought in Guitar, Bass Clarinet, Timpani, Drums and Saxophone to pay with the roar of the presses. The shop was such an integral part of the piece it got me thinking about space. And other elements beside just music. Since we worked there we were able to do a lot with light as well. The wheels are still turning…
Since I’m coming at this from a touring musician’s start I deliver and install everything myself. I have created a life that allows me to pack the van and hit the road. I always so this life as making something and sharing it. Part of the sharing is me. I got the tour bug early on and still like it. When I was 19 my good friend Todd Ransick called me up and told me the guitar player in his band Far Cry didn’t wanna go on tour because he was afraid his girlfriend would cheat on him. So I made way to Bethesda Maryland and practiced for a few weeks and left on my first tour. It was even better than I thought it would be. So here we are all these years later.

HKPS::How did you plan for the packing and transportation of your installation work?

CC::I suppose I always have the van in mind. And sometimes I rely on my packing skills a little too much but it works.

Craig Colorusso-Pack Out

HKPS::Was Sound + Light the first show you have done with all 3 installation components?

CC::This was the first time I was able to present all 4 pieces and the film.

HKPS::Did you plan any of your artwork around the logistics of transportation or keep the transport in mind when designing your works and their modular components?

CC::I have a few platforms that I’ve built for CUBEMUSIC and Sun Boxes to fit nicely in the van. MB 89 has toured by itself so I thought it would all fit. But honestly there were a few moments that I thought I would have to get another vehicle.

HKPS:: Did you have an idea of how to pack your van or did you have to try things out till you were able to make it all fit?

CC::The pack that went to Charleston was revised 3 times before it all worked. I am very proud of the pack. I like the idea of space and how we can manipulate it.

To this…(in approx 4 hrs)

Thank you Craig for sharing how you work, your planning and process! I loved being a part of the Sound+ Light experience and watching the show come down and be packed into that small space, Bravo! You win the “Puzzle” award for fitting 80,000 square feet of art installation into one little van!

*The idea for the Inside the Artist Studio series began while attending an art retreat where I curiously observed the differences in the creative cycle of order and chaos and what that looks like for different individuals. I’m very interested in sharing how organizing affects the artist’s creative process. Some systems and order are vital to our creative PLAY and learning to find a balance that works to enhance your creativity is what I hope to share with you through these interviews.

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Is there a particular artist whose ‘Tool kit’ or studio you would like to see featured? Please leave a comment below and let me know!

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In the Studio with Craig Colorusso-Part I

November 19, 2015 by Heather Filed Under: Art, Art & Design, In the Studio, Inspiration & Education, Organize, Photography

Today we head inside the Studio with Craig Colorusso who I met while I was a docent during the recent installation in Charleston of Sound + Light. Craig and I got to talking and he not only agreed to do the interview partially virtual (he’s provided the photo’s below of his studio in Arkansas) but I also came to watch him dismantle and meticulously deconstruct and pack out the entire massive 4 part installation into his van. This week I’m thrilled to share his studio organizing tips and next week we will bring you the pack out and some specific questions related to his process! These photo’s are not styled in any way, so this is typical of what his working studio looks like on an average day.

Inside the Studio with Craig Colorusso-Studio Sneak Peek Part I

HKPS::What age did you suspect or know you were an artist?

CC::I always knew but tried to hide from it.

HKPS::What mediums do you work with and are there specific tools or materials you find challenging to keep organized or locate when you need to use them?

CC::I make sounds mostly with a guitar. Sometimes with a Bass Clarinet. I also make things out of wood. Sometimes as finished pieces other times as a model to be made out of something else. I’m fond of metal. And I daydream about concrete.

HKPS:: Where do you make your art, how big is your studio and how long have you been in this space?

CC::I live in a house with 1 wife, 1 daughter and 2 cats. We’ve been here for 3 years. I currently build things in a 2 car garage. It’s filled with tools and materials. A car has never touched the space since we’ve been here. Directly above the garage is a guest room that has all my music gear. It’s not much: 1 Electric guitar, 1 acoustic guitar, 1 Hybrid, a Bass Clarinet, a Bb Clarinet, 2 amplifiers, a few guitar pedals, 1 computer and some cymbals. This is the second time I’ve lived where I can keep things set up. When I lived in Brooklyn I had a small living space with some room to play.

HKPS::How many projects are you usually working on at once? Is this due to space constraints, creative process, organizing systems or other influences?

CC::Things take time to unfold for me. I am currently working on 4 projects that are at varying stages of being finished. I like to think about things for a while. But I’m also constantly reminded of how little time I left. So juggling the two ideas is a constant theme. Things change. Very simply I would say I make systems and these systems are constantly being updated.

Craig Colorusso

HKPS::When you began working in this space did you plan any systems for the overall set up or did you let things evolve organically? How did past studio spaces or systems influence this space?

CC::My studio space is part working and part storage. The two things I store are pieces that travel and materials. I used to work as a carpenter so I had access to a lot of things to be thrown away that I kept. Some things I have used some I have not but they seem too good to throw away. My aspirations outweigh my skills. So I have piles of things I’ve picked up over the years.

HKPS::Is making art your primary “job” or source of income? How much time do you spend in your studio weekly/daily?

CC::It is my full time job. A few years ago I had a very romantic vision of being a full time artist; I would sip tea and think in a bright colored robe. In reality I’ve never done that. I don’t even have a robe. I spend most of my time promoting what I’m doing and\or chasing new opportunities. Which is certainly not a bad life. I have always thought art could expand beyond the work.

HKPS:: How or did you learn your organizing habits and systems? Do you consider yourself to be organized?
CC:: I would not consider my self organized. But I do hope to get there some day.

HKPS:: Do you purge, clean or de-clutter your supply stash and space on a regular basis?
CC:: I despise clutter when I’m playing music. I like space and I like to fill it with sound unaltered by my baggage. There are some non music items in the room but very few. Downstairs is a little different. I have to store materials and have a space for my current pieces. I suppose a dream scenario would be to have a room maybe 20X20 that’s painted white that has a chair in it and nothing else. A place to come and think without the world bothering me. Once again this is a little bit romantic fantasy. I don’t think I’d be more productive with my bare white room so do I really need it?

HKPS::Is there anything you keep in your studio strictly for fun or inspiration? Is there anything you intentionally don’t have in your studio due to distraction?
CC::I have a few things upstairs that people have given me but not much. Sometimes I listen to the radio when I work downstairs. Mostly sports radio especially during football season.

Thank you Craig for for sharing a sneak peek into your working space and how you work! In Part II I have more from Craig about how he managed to fit 80,000 square feet of art installation into one little van!

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Is there a particular artist whose ‘Tool kit’ or studio you would like to see featured? Please leave a comment below and let me know!

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In the Studio with Rob Maniscalco

November 12, 2015 by Heather Filed Under: Art, Art & Design, In the Studio, Inspiration & Education, Organize, Photography

Today’s Artist Interview is with Rob Maniscalco who I met at a neighbor’s party. We got to talking and I asked him if he would want to be featured on my blog, time got away from us but we reconnected recently since he’s just released a new book from his Quench Project. Rob has a FROG studio space inside his home and I’m thrilled to share his studio organizing tips and have him participate in this interview. These photo’s are not styled in any way so this is typical of what his working studio looks like on an average day.

The idea for the Inside the Artist Studio series began while attending an art retreat where I curiously observed the differences in the creative cycle of order and chaos and what that looks like for different individuals. I’m very interested in sharing how organizing affects the artist’s creative process. Some systems and order are vital to our creative PLAY and learning to find a balance that works to enhance your creativity is what I hope to share with you through these interviews.

Interview and Studio Sneak Peek Part

HKPS::What age did you suspect or know you were an artist?

RM::I grew up in a household full of arts. My father was a professional portrait painter and was always in the studio working. I sat on his lap while he painted, while in the other room my brother played Rachmaninoff on the piano. I was always painting or playing my clarinet or singing. You get the picture. Ironically, I was the only one of four kids that went on to be a professional artist.

HKPS::What mediums do you work with and are there specific tools or materials you find challenging to keep organized or locate when you need to use them?

RM::I’m primarily an oil portrait painter but I sometimes work in pastel or watercolors. I do a lot of sketching with charcoal. My pants are all in a central location, stored in my taboret. I don’t line my colors up in a row or organize my brushes but they’re all right there ready to go when I want them. I must admit I keep a lot of material that were passed down from my father, which I never use. I keep them around because they inspire me.

HKPS:: Where do you make your art, how big is your studio and how long have you been in this space?

RM::I have a studio in the FROG of my home. The space is more than adequate for me to create what I do. I am very happy that I have high ceilings (& great light), which were absent in my previous location. I’ve been in my North Charleston studio for about a year. I miss my Marshview which inspired me in my previous location on the Ashley River.

HKPS::How many projects are you usually working on at once? Is this due to space constraints, creative process, organizing systems or other influences?

RM::The majority of my work is commission portraits. The work comes and goes. Some months I may have many projects and then some months will go by was no commissions at all. None of this is dependent on the constraints of space or organizational systems. My fine Art, that is the art I do strictly based on inspiration, may be affected by physical constraints. But I think it has more to do with the constraints in my mind that sometimes say “why bother?” It’s then I remind myself, I’m painting for the ages and not just a quick sale in a gallery. (BRAVO ROB!-We all come back to this at times)

Robert’s father once won an award at an artshow for his paint rag abstract.

HKPS::When you began working in this space did you plan any systems for the overall set up or did you let things evolve organically? How did past studio spaces or systems influence this space?

RM::This FROG was an entertainment/family room before we moved in so there is 106 inch surround sound entertainment center that I work around. But it is not distracting. The first thing we did was paint the walls a warm salmon color instead of the bright green from the previous occupants. Otherwise I adapted my set up to the space. It’s not ideal because of the lack of view, but it works well for me. I like to have a view so that I can divert my eyes from my work every so often. It’s important to clear the pallet. Now I have to settle for the occasional block buster.

HKPS::Is making art your primary “job” or source of income? How much time do you spend in your studio weekly/daily?

RM::My primary job has been an artist for the last 36 years. In recent years as the market has become more unstable so I’ve been integrating other related facets, such as videography, photography, Quick sketch art, court room sketching and teaching to help fill-in the financial voids. I tried Uber driving but I didn’t like people telling me where I should drive:). Once in a while I get the urge to find a real job, during the sometimes long period between commissions and sales. But I’ve found not many companies want to hire a middle aged man with no “work” history. Of course, we know, nobody works harder than those who are self-employed! I work about 10 hours a day (being an artist) and I spend 90% of that time in my studio. About 40% of the time is spent marketing and doing office work, like book keeping, etc. The rest of the time I’m writing (blogging and books) or painting. I spend a good amount of time in research and development, meaning I’m planning my next painting or body of work for projects. I think I need to get out more and connect with people. That’s always been my weakest link. My favorite use of time is spending it with my wife Cate and the kids.

Inside the Artist Studio::Rob Maniscalco

HKPS::How or did you learn your organizing habits and systems? Do you consider yourself to be organized?

RM::I don’t consider myself fastidious but I do like a neat studio. I have a photographic memory so I am replaying pictures of scenes in my mind. If my scenery is filled with clutter that means I have more information to process which is a distraction. Dali painted in the studio with nothing but white walls everywhere. I’m somewhere between him and the crazy hoarder down the street. I’m organized in as much as I know where to find most of my materials when I need them.

HKPS::What tips can you offer regarding your use of schedules systems tools or processes that help you maintain organization in your studio?

RM::I have several databases programs that I use to organize my contacts and client base. I maintain my own website and have a very large email following. I use mail poet on word press which does a pretty good job. I’m finding it difficult to organize my clients into effective groups so that I can contact them more specifically about what interests them. I have an ACT database, but I’ve been using for several years and updating. It records the history and appointments so that I can keep my schedule straight and plan marketing strategies. I try to focus on what is important followed by what is urgent. I have things on my to do list that of been there for several years, that I simply don’t consider urgent or important. I’m trying to integrate my smart phone and centralize all of my programs so that they work together but so far I haven’t been very successful.

HKPS::Do you purge clean or do you clutter your supplies – and space and a regular basis?

RM::Nope. Like ~~most~~ some people I wait until it becomes overwhelming then I purge and clean. But my work space is relatively neat most of the time.

HKPS::Is there anything you keep in your studio strictly for fun or inspiration? Is there anything you intentionally don’t have in your studio due to distraction?

RM::I keep a few inspiring books on my shelves and a few sentimental artifacts. I’ve always fantasized about having a studio filled with fascinating things to paint and draw but I always think what will I do with it after I’ve painted it? I try to keep a few things around for my students to draw. But I have them working mostly with organic objects so I could probably use a plant or two now that you mention it. (& see his comment about his father’s materials-kept for sentimental inspiration).

HKPS::Do you know the cycles or phases of projects that are more or less organized in your creative process?

RM::Since I got Photoshop I’ve been able to plan paintings much more efficiently. But as far as cycles or phases I’m not sure what that means. My materials are pretty much right here ready to go when I need them. I guess I wish I had a wet bar or sink near my studio but you can’t have everything. I could wait a long time for my set up to be ideal. I don’t have that kind of time.

HKPS::How much thought do you give to your artistic body of work in terms of historic value in the overall legacy you will leave behind? How do you store archive your work or records?

RM::I used to keep a metal box with all the slides of every painting I ever did. Now everything is digital and can be found somewhere in my computer. I say “somewhere” because if I were not here to find it I doubt anyone would be able to find my archives in my computer. This is probably something I need to fix pronto.

HKPS::What if anything did you learn about your organization process through this interview?

RM::It did reveal areas of weakness, particularly in my archiving. Most of my computer files are buried deep in my documents somewhere. It’s not very intuitive. I do have a good backup system. Surprised you didn’t ask about that. The other thing I was hoping you would ask me about was how I organize my palate? That I think is my proudest piece of organization. My palate is called the power palette and a temple of my palette is available on my website for sale. My palate is organized by value, which I consider the most important aspect of any color I will ever use. I think it’s very important a person should find, develop and use a pallet that is consistent and dependable usable under any known number of circumstances. What I learned in this interview is that I am organized in the most important areas of my profession. I’m organized in the way I think about, plan and execute paintings. That is, after all, why we are here.

Thank you Rob for sharing with us a bit about your space and how you work! Please see more of Rob’s work on his site and in his new book from the Quench Project! If you are interested, Rob also flipped the table and interviewed me on his blog here! That was very fun, thank you for that lively conversation Rob! It’s in many ways a continuation of this interview.

Textile Tuesday::Mill Village Mandala’s

June 16, 2015 by Heather Filed Under: Art, Inspiration & Education, Textiles & Pattern 5 Comments

I’ve been pretty inconsistent about blogging lately and I’m not sure if I should be blogging about my art, my organizing, organizing tips, project’s I’ve been working on, the direction I’m headed (Organizing for artists!) or what??? So many questions and I’ve been super busy so I’ve just fallen silent. I will figure this out, it will emerge and hopefully my customers and readers can help me figure it out! Tell me what you want to see and hear.

In the meantime I’ll share something I’ve been really excited to be working on. I was selected to be an Installation Artist for Enough Pie Awakening III:Solstice event in Charleston this coming Saturday. Here’s a little about the pieces I’ll be installing on site for the event, how they came to be and why I gave them the name Mill Village Mandala (s) (Detailed views below).

In my current work I spend a great deal of time helping clients find order where there has been chaos. I look around their personal universe for patterns and clues, noticing areas of chaos and order. I use the information that I gather in their universe to help them re-define a new sense of order in their space and life.

In essence I help transform chaos to order with them and for them.

Helping clients through the cathartic proc

ess of releasing things is essential to the work we do together. These wire hangers symbolize the release of excess “stuff”, the waste and neglect of our valuable resources in our lives. As the idea to use them emerged, they began to quite literally represent a tangled past and what beauty can emerge when we begin to re-vision our future with more order.

The mandala is a beautiful and sacred example of how form and pattern can emerge from all the microcosms of the universe. My vision for sharing this mandala installation is to create a metaphorical gateway for our community to come together through place making and creative expression. Tapping my “eye” for creating patterns, I used recycled materials – cast off from the bi-products of the textile industry like hangers, recycled tee shirts and natural indigo dye – to realize this artistic vision.

The Mill Village is a reference to the history of the textiles industry which migrated from New England to South Carolina after the industrial revolution. In these Villages the ‘Patterns of life’ were dictated by the mill owners including the currency used, religious practice and places of residence and business.

I hope to ‘let the sun shine in’ on our wasteful appetite for textiles and share the beautiful patterns these cast off materials can create as a metaphor for how we can re-envision just about anything to transform it from overlooked to beautiful and useful.

Finding Inspiration & Creative Community

May 4, 2015 by Heather Filed Under: Art, Inspiration & Education

I just finished reading The Artist Way (for the 3rd time) which is always such an incredible tool for re-connecting with my inner artist child and better insight into my creative cycles and obstacles. This time around I facilitated a local group of artists and over the past 12 weeks we have all become so close and such a wonderful supportive, sacred circle for one another. I have learned as much from them and our weekly gatherings as I did from the task and wisdom of Julia Cameron’s book.

This past week I had some beautiful opportunities to play, explore and restore my inspiration and connect with creative community. Can you relate to how challenging it can be to step away from the must-do’s or obligations of our daily grind and re-connect with your sacred creative self? As creative beings we owe it to ourselves and our communities, family and one another to take these much needed breaks and re-fill our creative well. One of my favorite tools in The Artist Way is the artist date. Over the 4 or so years since I first read the book I’ve lost touch with the tools from time to time but finding the time to be in Joyful celebration of our creativity is such an incredible gift! As long as I think of it when I’m planning my week I am almost always able to sneak a little artist date into my week.

This past week I took two day long artist dates! This is often how I reward myself for hard work and successful completion of projects. The first fun date last week was to Art Fields (now in it’s 3rd year) in Lake City, SC. There were over 400 exhibiting artist of almost every medium you can imagine! It was incredibly inspiring and humbling to see how much local talent there is in the Charleston community and the region. I won’t comment on the winning pieces (other than to say not what I would have picked). If you want to see all the works they are on the Art Fields website and I’ve got more photo’s of some of my favorites in this album.

These two pieces were at the top of my favorite’s list, both were playful, 3-D hanging installations. The piece above won the Artfields People’s Choice Award for 3-D work and the one below is called Atoms & Stars (and there were a lot of Bees, which always make me happy!).

As if seeing over 400 works in one day wasn’t enough! I also went to a gallery hop and saw one of the artists I’ve interviewed on my blog, Mary Edna Fraser‘s work in it’s final week at the City Waterfront Gallery.

Her retrospective show Above-Between-Below was incredible, and sadly it’s over but if you want to see more check out my album here. I admire the passion, purpose and fine craftsmanship of Mary Edna and she is one of the most fun, energizing people to be around, she’s infectious (in a GREAT way).